论文部分内容阅读
20世纪80年代末以来的苏俄社会变革,否定了作为国家意识形态的马克思主义,颠覆了代表苏俄马克思主义文艺思想体系的社会主义现实主义美学原则,也就成为后苏联社会潮流。然而,社会主义现实主义作为马克思主义美学苏俄化的表达,深刻影响了20世纪30年代以后的苏联文学艺术发展,并波及包括中国在内的社会主义阵营,这种历史作为事实存在是无可否认的。在后苏联关于社会主义现实主义的激烈论争中,来自苏联的马克思主义美学家鲍列夫(因在苏联和中国以马克思主义观点建构《美学》而著称),站在苏俄马克思主义立场上积极为社会主义现实主义辩护,在社会主义现实主义的起源和发展及其在中国的实践等方面,提出了较为独到的看法,既有别于否定马克思主义的反苏俄意识形态批评,也不同于俄罗斯民族主义维护大国文化遗产的讨论,当然也不及杜波连科把社会主义现实主义当做被建构的事实进行知识考古学还原的研究。
The social revolution in Soviet Russia since the late 1980s has denied Marxism as a state ideology and subverted the socialist realist aesthetic principle that represents the Marxist literary and art ideology in Soviet Russia and has become the trend of the post-Soviet society. However, as an expression of Marxism aesthetics in Soviet Russia, socialist realism has profoundly influenced the development of the Soviet literature and art since the 1930s and spread to the socialist camp including China. As a fact, this history is without merit Denied. In the fierce debate in the post-Soviet Soviet Union on socialist realism, the Soviet Marxist esthetician Bolev (known for building “aesthetics” from the Marxist point of view in the Soviet Union and China) stood on the Marxist standpoint of the Soviet Union and Russia Defended socialist realism and put forward a rather unique view on the origin and development of socialist realism and its practice in China. It is different from anti-Soviet Russian ideological criticism that denied Marxism, Of course, there is no discussion about the reduction of knowledge archeology by Dubinianko by taking the nationalism of Russia as a constructive fact of socialist realism.