马克思美学的三个逻辑

Three Logics of the Aesthetics in Marx

本文认为,马克思的美学思想中包含三个重要的美学逻辑。第一个逻辑是广义上的“美学”,即马克思早期在对黑格尔思想的批判中发展出来的感性实践概念;第二个逻辑体现在《共产党宣言》中,《宣言》作为一个强大的现代主义文本,说明了资本主义社会的本质矛盾如何导致人类感官的彻底改变,以及新的审美形式的生成;第三个逻辑体现在《路易·波拿巴的雾月十八日》,马克思通过对真实历史事件的本质反思,描述了对此前表现形式的“重复”是如何压抑了生产,而美学则成为打破这种强制重复的有效方式。在此基础上,马克思美学的一个核心问题在于,如何实现感官的最终解放,所谓的“未来的诗情”构成一种带有差异性的重复,最终指向的是一种全新的感知分配。由此,马克思美学的三个逻辑达成一种内在的统一,美学则成为无产阶级革命事业的重要先导。

This paper argues that Marx’s aesthetic thought contains three important aesthetic logics.The first logic is"aesthetics"in a broad sense,which is the concept of sensuous practice developed in Marx’s early critique of Hegel’s thought;the second logic is embodied in The Communist Manifesto which,as a powerful modernist text,illustrates how the essential contradictions of capitalist society lead to a radical change in the human senses,how new forms of aesthetics can be developed and the generation of new aesthetic forms;the third logic is embodied in the Eighteenth Brumaire of Louis Bonaparte,in which Marx,by reflecting on the nature of real historical events,describes how the"repetition"of previous forms of expression suppresses production,and aesthetics becomes an effective way to break this enforced repetition.On this basis,one of the central questions of Marx’s aesthetics is how to achieve the ultimate liberation of the senses,the so-called"poetry of the future"that constitutes a repetition with difference,ultimately pointing to a new distribution of perception.Thus,the three logics of Marx’s aesthetics reach an inner unity,and aesthetics becomes an important precursor of the proletarian revolutionary cause.