马克思美学的政治经济学色彩

Political-economy Tinge of Marx's Aesthetic Ideology

马克思美学思想直接得益于黑格尔、费尔巴哈、席勒,但他的美学摒除了黑格尔的绝对精神理念,接过费尔巴哈和席勒的人本主义的旗帜,以政治经济学的眼光切入美学和文艺学,使他的美学拥有了独特的政治经济学色彩。黑格尔美学中的"异化"和"复归"、"对象化"和"自我观照"都在绝对理念或精神的统摄之下,而这些观念在马克思的美学中得到了彻底改造,由精神领域转向实践领域;费尔巴哈是在神学体系中观照着人,马克思则将人放置到社会关系中进一步还原,克服了费尔巴哈的抽象性;席勒的美学理想是"完美的人"、"全面的人",还是一种偏于抽象的人的理想,马克思则将席勒的人的理想扩展为一种可以在历史进程中完成的社会理想。

Although Marx's aesthetic ideology derives in part directly from Hegel and Feierbach, it abandons Hegel's absolute-spirit ideology, and inherits Feierbach's and Schiller's humanistic ideology; Marx researched aesthetics and literature from a political-economic point of view: all this gives his sense of aesthetics a special political-economic coloring. Among Hegel's aesthetics, the concepts of Alienation,reversion,objectification and self-observation are subordinated by absolute ideology or spirit, but in Marks' aesthetics system, these concepts are entirely restructured, that is, they are transformed from the spiritual to the practical domain. Feierbach observes humans from a theological perspective, while Marx puts humans into social relationships and further enlivens the aesthetics system, thereby overcoming Feierbach's abstractness. Schiller's aesthetic ideal of perfect human and concrete human tends toward an abstract human ideal, while Marks' extends this ideal into one that can be achieved in the historical process.