通向社会主体性美学--黄药眠对当今文艺理论建设的重要意义  

Toward the Aesthetics of Social Subjectivity:The Significance of Huang Yaomian to the Construction of Contemporary Literary Theory

作　　者：王一川[1] Wang Yichuan

机构地区：[1]北京师范大学文艺学研究中心

出　　处：《中国文艺评论》2024年第2期101-111,I0003,I0004,共13页China Literature and Art Criticism

基　　金：2023年中国文联文艺理论研究部级重大课题“中华文明突出特性与新时代文艺发展研究”(项目批准号:ZGWLBJKT202301)的中期成果之一。

摘　　要：理解黄药眠美学思想,首先需要把握其革命美学家和革命文学家的双重身份,其次需要看到他面对朱光潜美学和胡风美学的双重挑战。由此理解前提去看,他在20世纪40至50年代的美学思想中呈现出唯物的和人民的、客观的和主体的、政治的和艺术的、社会的而非个人的等成分,具有社会主体性美学的鲜明特点。当前需要在新的语境下从中引申出新理解。To understand Huang Yaomian’s aesthetic thought,it is necessary to first grasp his dual identity as a revolutionary aesthetician and a revolutionary literary scholar,and secondly,to see that he faced the dual challenges of Zhu Guangqian’s aesthetics and Hu Feng’s aesthetics.From this premise of understanding,it can be seen that his aesthetic thought in the 1940s and 1950s presented components of materialism and the people,objectivity and subjectivity,politics and art,and society rather than individuals,with the distinctive characteristics of social subjectivity aesthetics.At present,it is necessary to derive new understandings from it in a new context.

关 键 词：黄药眠美学思想 双重革命身份 双重美学挑战 社会主体性美学 

分 类 号：B83-0[哲学宗教—美学] I01[文学—文学理论]