列斐伏尔《美学概论》解读

An Interpretation of Henri Lefebvre's Introduction to Aesthetics

列斐伏尔的《美学概论》多被中国和国际美学界忽略。但是在20世纪40年代末叶该书刊布的特定历史阶段,它的意义不但在于堪称此一时期马克思主义美学的一部代表之作,而且对是时作为马克思主义阵营主导意识形态的"社会主义现实主义"方法有所忤逆。在美学史的回顾中他批驳康德与黑格尔,欣赏柏拉图与狄德罗,即显示出他关注哲学美学与日常生活的理论旨趣。列斐伏尔大力推崇马克思《巴黎手稿》,事实上《手稿》中开始提出的人的全面发展的思想,也成为后来列斐伏尔本人"总体人"理论的直接来源。而列斐伏尔与普列汉诺夫围绕艺术起源与功能定义的分歧,莫若说两人是双管齐下,最终分别从文化的物质和精神层面,解释了艺术与社会生活的关系。

Ignored by Chinese and international academic circles, Henri Lefebvre′s Introduction to Aesthetics was not only a representative work in Marxist aestheticism on its publication in the late 1940s, but also contravened ＂socialist realism＂, the dominant ideology of the Marxist camp at that time.In his review of the history of aesthetics he criticized Kant and Hegel and eulogized Plato and Diderot, showing his theoretic bent to apply philosophical aesthetics to daily life.Lefebvre lauded Marx′s ＂Manuscripts of Paris＂and the idea of all-round development put forward in this book was to become the immediate inspiration for his theory of the＂whole person＂.His argument with Plekhanov on the origin and functions of art is rather their interpretations of the relationship between art and social life from the perspectives of the material and spiritual aspects of culture respectively.