马克思主义美学的主体批判与主体可能——论20世纪以来马克思主义主体理论的演进与批判

On the Subject Critique and Subject Possibility of Marxist Aesthetics

西方左翼政治全面衰退的严峻现实向马克思主义美学的主体研究提出了理论课题,即主体的革命意识如何激活和实现?围绕这个问题,20世纪以来马克思主义美学展开了主体批判和主体可能的四种理论模式探索:一是以文化领导权和主体意识生成关系为重心的文化马克思主义主体模式,它认为主体性意识存在于文化批判和文化抵抗复杂动态辩证过程中;二是结构主义马克思主义主体模式,它以国家意识形态机器的物质性来说明主体生产的内在主客体辩证法;三是部分后马克思主义重新反思主体消解论,提出重返主体性立场;四是威廉斯、伊格尔顿等人激活马克思主义悲剧美学,他们认为可以从悲剧美学中汲取重塑具有牺牲精神的革命主体可能性条件,这不失为马克思主义主体研究一种有意义的美学规划。

The overall recession of western left-wing politics posed a new question for the subject study of Marxist aesthetics, that is, how to activate and realize the revolutionary awareness of the subject. To find a reply Marxist aesthetics developed four theoretical modes of subject critique and subject possibility: first, the mode of cultural Marxism with its focus on cultural leadership and the generation relationship of subjective consciousness,which holds that subject consciousness exist in the dialectic relation between cultural critique and cultural protest; second, the mode of structuralist Marxism which uses the materiality of Ideological State Apparatuses to explain the dialectics of subject and object innate to the subject production; third,Post-Marxism which reflects on the Postmodern concept of a deconstructed subject and proposes a return to the subject; lastly, the Marxist tragic aesthetics of Williams and Eagleton, which holds that tragic aesthetics contains the possibility of remolding revolutionary subject with spirit of sacrifice.