继承、超越与批判:论阿尔都塞的“真正的艺术”

Inheritance, Transcendence and Critique: On Althusser's Notion of the True Art

《一封论艺术的信》中,阿尔都塞明确提出艺术有两种:“意识形态艺术”和“真正的艺术”。二者的区别在于它们跟意识形态的距离。前者靠近意识形态并成为它的一部分;后者则因远离意识形态,保持着本身的独立性。很明显,“真正的艺术”不同于马克思主义将其视为由物质基础决定的上层建筑。但阿尔都塞自认这并非背离,而是对马克思主义的继承与超越。后续马舍雷等延续了这一观点。很多批评家则提出异议,其中伊格尔顿的批判火力虽猛,却也有继承和超越之处。他在正视艺术创作不能彻底擦除意识形态影响的基础上,认为不应与意识形态保持距离,而应靠近它,与之周旋才能成就“真正的艺术”。

In Letter on Art, Althusser presents clearly his notion on two kinds of art determined by the distance with ideology. Ideological art combines with it, otherwise, the true art keeps independence with it. However, Althusser believes that this is not a deviation, but an inheritance and transcendence of Marxism. Pierre Macherey further develops this notion which meets dissidence from many scholars later, Among whom Terry Eagleton is so special in realizing the impassibility of eliminating ideology in art, therefore proposes to think what the true art is around ideology not distance with it.