摘要
列斐伏尔的美学思想不同时期在中国呈现出显隐交替、主题流变的历史形态和跨域转合、异位转场等空间特征,其美学理论在20世纪50年代、60年代转道苏联进入中国,经历从“进步”到“修正主义”的定位剧变,未能获得理论生长空间。新时期以来,在现代/后现代、全球化/都市化的语境交错中,列斐伏尔的异化、日常生活等理论在中国被置于西方马克思主义和审美批判的边缘视野并产生异位;其空间思想则在“空间转向”之下介入文学文化研究而发生审美转场,也被不同程度地简化和误读。列斐伏尔美学思想的当代旨归,要回到他提出的在“空间表象”与“表征性空间”两者之间作为审美空间的“第三空间”,进而以更具本源特征和普遍意义的“空间感性学”关联其思想脉络,并在中国语境中激活其阐释效力和对话潜能。
Lefebvre's aesthetic thought in China at different times presents implicit and explicit historical form along with thematic changes,and spatial characteristics such as cross-domain propagation and misplacement.In the 1950s and 1960s,his aesthetic theories entered China through the Soviet Union,experiencing a drastic change from“progress”to“revisionism,”and failing to gain room for theoretical growth.Since 1978,in the context of modern/post-modern and globalization/urbanization,Lefebvre's theories of alienation and everyday life have been placed in the peripheral vision of Western Marxism and aesthetic criticism in China and then been misplaced.His idea of space,in the context of the“spatial turn,”intervenes in the study of literature and culture and then undergoes aesthetic transitions,and has been simplified,misinterpreted and obscured to varying degrees.
出处
《中国文学批评》
北大核心
2024年第1期135-143,M0005,M0006,共11页
Chinese Journal of Literary Criticism
基金
广东外语外贸大学外国文学文化研究院标志性成果培植课题“比较视野下列斐伏尔空间美学思想辩证研究”(23BZCG10)阶段性成果。
