论艾尔雅维茨的“文化政治”美学主题  

Analyzing the Aesthetic Theme of Ales Erjavec's Cultural Politics

作　　者：彭成广[1] Peng Chengguang(College of Chinese Language and Literature,Southwest Minzu University,Chengdu,China,610225)

机构地区：[1]西南民族大学中国语言文学学院

出　　处：《当代外国文学》2024年第3期133-139,共7页Contemporary Foreign Literature

基　　金：国家社科基金后期资助项目“东欧新马克思主义文化现代性美学研究”(22FZWB081);教育部人文社科项目“卢卡奇的‘审美特性’思想研究”(22YJC751025)阶段性成果。

摘　　要：艾尔雅维茨的“文化政治”美学主题主要体现在:一,从“他者”与“自我”的裂隙中考察“东欧”特定时期艺术“言说”的现实境遇和主体化努力,彰显艺术美学话语本身所蕴含的“文化政治”意图;二,从“全球”与“地方”的差异出发,认为当今艺术概念具有普遍化的遮蔽性,应坚持艺术的“去普遍化”功能,同时指出在全球化语境中,美学与艺术正在走向合一,美学具有“地方性”“去中心化”“去总体化”等后现代特征;三,以“先锋派”为例揭示出艺术、美学与政治、革命之间的复杂辩证关系,认为“先锋派”以介入现实、融入政治、引领革命的姿态发挥着艺术的公共实践性,延续并扩展了“文化政治”传统。The aesthetic theme of Ales Erjavec's cultural politics can be divided into three aspects.Firstly,he examines the reality of artistic expression in Eastern Europe from the perspective of a gap between self and Other,highlighting the intention of cultural politics in art's aesthetic discourse.Secondly,judging from the differences between global and local,he believes that the current concept of art is deceptively generalized and that it should adhere to the de-generalizing function of art.He also points out that in the context of globalization,aesthetics and art are moving towards unity,and that aesthetics has postmodern characteristics such as being local,decentralized,and de-integrated.Thirdly,he uses the avant-garde to reveal the complex dialectical relationship between art,aesthetics,politics,and revolution,and maintains that the avant-garde can shed light on reality and politics to inspire revolution,thus reflecting the public role of art,which continues and even expands the tradition of cultural politics.

关 键 词：艾尔雅维茨 文化政治 美学 革命他者 

分 类 号：D0[政治法律—政治学] J01[艺术—艺术理论] B83-05[哲学宗教—美学]