“生产美学”的马克思主义解析  

Marxist Analysis on the Production Aesthetics

作　　者：蒋继华 JIANG Ji-hua(School of Humanities and Social Sciences,Yancheng Institute of Technology,Yancheng Jiangsu 224051,China)

机构地区：[1]盐城工学院人文社会科学学院,江苏盐城224051

出　　处：《齐齐哈尔大学学报（哲学社会科学版）》2023年第10期16-19,共4页Journal of Qiqihar University(Philosophy & Social Science Edition)

基　　金：国家社科基金后期资助项目(18FZW056);盐城工学院党建工作与思想政治教育研究会2023年课题(MKS202302)。

摘　　要：在马克思正式提出“艺术生产”概念之前,视文艺为生产、制作的观念在古代就已出现,其间经历了一个漫长的发展过程。20世纪以来,西方马克思主义理论家致力于用文化主义的立场重新审视历史唯物主义,注重发挥生产的功用,在更广阔的社会背景下融合文化、意识形态与社会现实、资本、消费、商品等之间的关系,使当代美学研究向大众文化、消费文化、日常生活等场域拓展,助推美学的生产转向。后理论时代,生产美学要面对生产性和审美性的二重性矛盾,处理好审美创造与市场经济发展对艺术的规约和影响,葆有独特的人文情怀和审美品性。Before Marx officially proposed the concept of artistic production,the concept of viewing literature and art as production and production had already emerged in ancient times,and it went through a long process of development.Since the 20th century,Western Marxist theorists have been committed to re-examining historical materialism from a cultural perspective,emphasizing the role of production,and integrating the relationship between culture,ideology,social reality,capital,consumption,commodities,and other factors in a broader social context.This has expanded contemporary aesthetic research to the fields of mass culture,consumer culture,daily life,and promoted the production shift of aesthetics.In the post theoretical era,production aesthetics must face the dual contradiction between production and aesthetics,handle the regulations and influences of aesthetic creation and market economy development on art,and maintain a unique humanistic sentiment and aesthetic character.

关 键 词：生产美学 艺术生产 消费时代 审美性 

分 类 号：B80-0[哲学宗教—思维科学]