马克思对审美现代性的内在超越及其解放意蕴

Marx's Inner Transcendence of Aesthetic Modernity and Its Implication of Liberation

马克思对审美现代性的超越完全体现在其对资产阶级政治经济学的批判中。对于马克思而言,无产阶级革命是一场关乎感性与身体的美学革命,艺术在这场革命中发挥其原初的教化功能,并在无产阶级组织内部形成一种庞大的凝聚力。马克思对审美现代性的超越具体表现在两个层面:其一是将自由概念置于劳动价值理论的讨论中,在美学意义上总结出自由是人的感官功能的复归,自由劳动是人对其现实的本质的真正占有;其二是指出自由劳动同样也是一种解放劳动,无产阶级的艺术生产所显现的政治功能引领其展开一场关乎身体本身的美学革命,正是在这场革命中,人实现了向自身、向社会的复归。这两个层面意味着,在马克思看来,艺术并不仅仅只是要拯救审美文化领域的现实危机,其本身的教化作用表明它也能够引领无产阶级实施一场变革生产方式的政治美学革命。

Marx's transcendence of aesthetic modernity is fully reflected in his critique of political economy.For Marx,the proletarian revolution was an aesthetic revolution involving the senses and the body.In this revolution,art played the function of education and formed a huge cohesive force within the proletarian organization.Marx's transcendence of aesthetic modernity is manifested in two aspects:First of all,freedom is placed in the discussion of labor theory of value.In the aesthetic sense,it is summarized that freedom is the return of human's sensory function,and free labor is the real possession of human's essence;Secondly,it points out that free labor is also a kind of liberated labor,and the political function of proletarian artistic production leads it to launch an aesthetic revolution related to the body itself.In this revolution,human returns to himself and society.In Marx's view,art is not only to save the crisis of aesthetic culture,but also to lead the proletariat to carry out a political aesthetic revolution that changes the mode of production.