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本文通过对汪曾祺小说《大淖记事》中的美学形象“巧云挑担”的讨论,阐发一种“缺陷性”的美学形象,并讨论这种形象和指向具体历史情境的马克思唯物主义美学的内在关联。这种形象不同于完善性的“理念”形象,它揭露而不是掩盖理念体系和具体的物的世界之间的缺陷和距离,通过“缺陷性”形象的“典型化”的努力,能发挥一种卢卡奇强调的总体化的批判功能。在对这个美学形象讨论的基础上,我们可以重新阐释乌托邦概念,借用本雅明的“微弱的弥赛亚”的提法,本文试图将这种在历史的具体中寻找希望的乌托邦和那种理念化的、绝对主义的、工具性的乌托邦区分开来,并把它称为“缺陷性”乌托邦。
This essay expounds a kind of “imperfect ” aesthetic image by discussing the aesthetic image “Qiao Yunden ” in Wang Zengqi’s novels “The Great Memory”, and discusses this image and the Marxist The Internal Relations of Materialist Aesthetics. This image is different from the image of a perfect “idea”, which exposes rather than covers the defects and distances between the system of ideas and the world of specific objects through “typification” of “imperfections” Efforts to play a kind of Lukacs stressed the overall critical function. Based on the discussion of this aesthetic image, we can reinterpret the concept of utopia by borrowing the account of Benjamin’s “feeble messianic” formulation. This article attempts to find such a utopian and that looking for hope in the specifics of history A conceptual, absolutist, instrumental utopia is distinguished and is called a “flawed” utopia.