论莫拉夫斯基的马克思主义艺术符号美学

On Morawski’s Aesthetics of Marxist Art Symbols

20世纪五六十年代,莫拉夫斯基秉持“开放马克思主义”理论传统,将马克思主义与逻辑语义学、分析哲学、结构主义、符号学、自然科学等方法论融合应用于艺术与美学问题探讨,开启了马克思主义艺术结构语义学的批判范式。莫拉夫斯基将“艺术语义学”推进到后现代“文化语义学”批评,彰显出了东欧马克思主义符号学批评的实践性、丰富性与多元性。

In the fifties and sixties of the 20 th century, Morawski adhered to the theoretical tradition of “open Marxism”, and integrated Marxism with the methodologies such as logical semantics, analytical philosophy, structuralism, semiotics and natural science to explore art and aesthetics, opening a critical paradigm of Marxist art structure semantics. Morawski promoted “art semantics” to postmodern “cultural semantics” criticism, highlighting the practicality, richness and diversity of Marxist semiotics criticism in Eastern Europe.