失落了主体与“关系”之后——关于蔡仪客观论美学的审视

After Losing Subject and Relations——A Review on Pro-objectivity Aesthetics by Cai Yi

蔡仪是新中国早期成长起来的最著名的马克思主义美学家之一 ,为建构具有中国特色的马克思主义美学和文艺学作出了突出贡献 ,产生过重要影响。这是不能否认也无法抹煞的。然而 ,当我们站在新世纪的门口来重新审视其客观论美学话语时 ,便明显地感觉到 ,因为他过分地热衷于套用马克思主义的唯物论和认识论来演绎美学观点 ,所以不可避免地导致了对于审美主体的挤兑 ,客观上造成了“关系”的失落。因此 ,他的美学建构可能事与愿违 。

As one of the greatest Marxist aesthetes with their reputation established in the forepart of new China, Cai Yi has made prominent and influential contributions to the construction of Marxist aesthetics and art-literature theory with Chinese characteristics, which can never expect to be denied and neglected. However, at the beginning of the new century when reviewing his pro-objectivity aesthetics, we will find it more evident that his aesthetics arguments, from the objective point of view, have unavoidably led to the absence of aesthetic subject and loss of relations simply because he is rigid in copying Marxist materialism and epistemology in the deduction of his theory. Consequently, his aesthetics construction is likely to be against his will, or, worse still, to be contradictory to the implications of Marxism.