“三位一体”的批判路径与文化危机反思旨归——论东欧新马克思主义理论家莫拉夫斯基的“后美学”批判

The“Trinity”Critical Path and the Cultural Crisis:On Eastern European Neo-Marxism Theorist Moravsky’s“Post-Aesthetic”Criticism

在东欧新马克思主义美学思潮中,“后美学”既是分析具体艺术潮流和透视艺术行为实践的重要表现,又是展示艺术与人文观念在社会文化内在结构间复杂勾连的美学棱镜。波兰美学家莫拉夫斯基在重新审定“美学”概念的基础上,把美学根基置于具体的艺术批评实践中,且最终合流成共同表征“文化危机”的艺术、美学与文化“三位一体”批判;他对以利奥塔和詹克斯为代表的两种“后美学”声音进行批判性阐释,既看到了利奥塔表面肯定后现代美学立场但实质对“美学”本身的否定姿态,又认为詹克斯以人文主义回归的方式使后现代主义人性化,最终却归于无效。这体现出他对后现代主义及其后美学自身悖论性结构的认识;他通过对后现代主义艺术所蕴含的美学“解构价值”的批判性指认、对后现代主义美学形态歧义性的归纳描述,展现出对后现代艺术及其美学困境的忧虑反思。

In Eastern European Neo-Marxist aesthetics,“post-aesthetics”can not only analyze the specific artistic trend and perspective of artistic behavior and practice,but also show the complex relationship of art in the inner structure of society and culture.By re-examining the concept of“aesthetics”,Stefan Morawski puts the aesthetic foundation into the concrete practice of art criticism,and finally merges them into the“trinity”critique of art,aesthetics and culture that jointly represent the“cultural crisis”.He offers a critical interpretation of the two“post-aesthetic”voices represented by Lyotard and Charles Jencks.He perceives not only the superficial affirmation of the postmodern aesthetic position,but the essence of the negative attitude towards“aesthetics”itself.He also argues that Jencks's humanization of postmodernism by way of a humanist return is ineffective.This reflects his revelation of the paradoxical structure of postmodernism and its post-aesthetics.Through a critical identification of the aesthetic“deconstructive value”contained in post-modern art and a description of the ambiguity of the postmodern aesthetic form,he offers a reflection on the dilemma of postmodern art and aesthetics.