马克思主义美学的不同走向:卢卡奇与布莱希特之争再思

Towards Different Paths of Marxist Aesthetics: a Reflection on the Debate between Lukács and Brecht

20世纪30年代爆发的卢卡奇与布莱希特之争,关系着马克思主义美学发展的新动向,是马克思主义美学自身的扬弃与发展。卢卡奇从现实主义的传统出发,以历史总体性审视、关照资本主义的物化现象,通过小说中的典型来展现艺术的人道主义精神。相反的是,布莱希特站在现代主义的先锋派一方,以戏剧艺术为关注点,推崇蒙太奇、并置、内心独白等艺术手法,希冀通过这些艺术手法来推动无产阶级的解放运动。本研究通过梳理这一论争的始末,试图把握卢卡奇与布莱希特在论争中的主要分歧,厘清两者不同的马克思主义美学的理论来源及立场,在此基础上洞悉马克思主义美学在本次论争中的发展张力,继而框定这一论争的核心脉络与要旨。卢卡奇与布莱希特之争是马克思主义美学内部的一场大讨论,丰富并推进了20世纪马克思主义美学的发展。

In 1930s,Lukács and Brecht launched a debate between Realism and Modernism.The debate concerns the new trends of Marxist aesthetics and involves the sublimation and development of Marxist aesthetics.Lukács starts from Realism in its tradition,reflects on the reified condition in its relation to historic totality,and exhibits the spirit of humanism by portraying typical characters in typical circumstances.Conversely,Brecht stands on the avant-garde side of Modernism,embraces the epic theatre,and advocates the artistic devices such as montage,juxtaposition,and inner monologue,so as to push the liberation of proletariat.This study firstly attempts to sort out the origin and evolution of this debate in order to grasp the main divergences.Then it analyzes the theoretic sources of Lukács’Marxist aesthetics and Brecht’s Marxist aesthetics,and probes into the internal tension within Marxist aesthetics,in order to grasp the major lines of the debate.The debate between Lukács and Brecht is an important discussion within Marxist aesthetics and it contributes greatly to the further development of Marxist aesthetics in the twentieth century.