马克思与西方美学——读《1844年经济学哲学手稿》札记

Marx's Contribution to the Western Aesthetics——Reading Notes on the Economic and Philosophic Manuscripts in 1844

西方美学史中的"西方"二字只是一个地域性的概念,不是政治概念。因此,没有理由把马克思的美学思想排除在西方美学史之外,或者把两者对立起来。从系统论的观点看,马克思主义美学的产生和发展绝不能离开"世界文明发展大道",它是西方美学发展整体的有机组成部分。必须把它放在这个整体中,研究它与其他组成部分之间的相互关系,确定它在整体中的独特地位和作用,才能真正从本质上把握它,也才能真正勾勒出西方美学乃至人类美学发展的真实面貌。马克思主义美学在西方美学史上究竟占有什么地位?四个字可以概括:承上启下,或说承前启后。所谓"承上",是指马克思主义美学的理论来源,包括马克思与黑格尔以及康德等人的关系。所谓"启下",是指马克思主义美学对西方现代美学的影响。以马克思为例,他的美学思想在吸收传统美学精华的同时又构成了对传统美学巨大的挑战,具有鲜明的现代性,与同时代的美学一道成为开启现代美学的原动力之一。这在《1844年经济学哲学手搞》中即有突出的表现,具体就是:追求人—社会—自然的统一,超越唯心与唯物,融合主体与客体,自觉的历史意识,人文科学与自然科学的统一。

The word western is a geographic but a politic term in western aesthetics, thus there is no reason to exclude Marxist Aesthetics thoughts from it. From a systematic viewpoint, the birth and development of Marxist aesthetics could by no means go away from world civilization. It is an integral part of western aesthetics. It should be placed into the whole. By studying the inter-relations of all the parts and locating its unique status and functions can we grasp it by essence, and can we draw the feature of the evolution of western aesthetics and aesthetics aroung the world. The status of Marxist aesthetics in western aesthetics functions as a connecting link between the preceding, including Hegel and Kant, and the following such as the modern aesthetics. His aesthetics thoughts absorbs the essence of and poses great challenge to the tradition. It is a aesthetics of modernity. Together with aesthetics at his time, Marxist aesthetics became a historic force to usher in modern aesthetics which is vividly represented in Paris manuscript. To be concrete： to pursue the unification of man, society and nature, to transcend idealism and materialism, to harmonize the subject and object, to pursue the unification of humanistic studies and science.