摘要
谢林把艺术提升到了哲学的高度,并在哲学层面上探讨了悲剧问题。在他建构出来的艺术体系中,悲剧作为绝对者活动的象征,是各种艺术形式中的最高者。悲剧的本质在于自由和必然性(命运)的冲突与和解。青年卢卡奇在转向马克思主义之前,他的悲剧观局限于谢林式的唯心主义视域中。他把谢林“自由和必然性”的范畴转化为“生命和本质”,并在《小说理论》中将这些用于“个体”的概念提升到“总体性”的高度。马克思提出了“现代悲剧”的概念,悲剧行动的主体不是抽象的绝对者,而是活生生的、包含了全人类的社会整体。谢林的“自由和必然性”范畴分别被转化为“社会整体的自由”和“历史的必然要求”。雷蒙德·威廉斯则以“异化”概念解释了社会革命(或变革)中不可避免的“悲剧性”。从谢林到马克思主义的悲剧理论,不但见证了马克思的哲学革命,而且呈现出高度的同构性。谢林的观点对理解和发展当代马克思主义的悲剧观仍有借鉴意义。
Schelling elevated art to the level of philosophy and explored the problem of tragedy on a philosophical level.In the system of art he constructed,tragedy,as a symbol of the activity of the Absolute,is the highest of all art forms.The essence of tragedy lies in the conflict and reconciliation of freedom and necessity(fate).Before the young Lukács turned to Marxism,his view of tragedy was confined to a Schellingian idealistic horizon.He transformed Schelling’s categories of“freedom and necessity”into“life and essence”,and in Die Theorie des Romans he elevated these concepts implemented to individuals to the level of totality.Marx put forward the concept of“modem tragedy”,in which the subject of a tragic action is not the abstract absolute,but the living social whole that includes all human beings.Schelling’s categories of“freedom and necessity”were transformed into“freedom of the social whole”and“historical necessity”respectively.Raymond Williams,on the other hand,used the concept of“alienation”to explain the inevitable“tragedy”of social revolution.From Schelling to Marxist theories of tragedy not only witnessed Marx’s philosophical revolution,but also showed a high degree of isomorphism.Schelling’s views remain relevant to the understanding and development of the contemporary Marxist conception of tragedy.
作者
严杭迪
Hangdi YAN(Fudan University)
出处
《马克思主义美学研究》
2023年第2期265-279,485,共16页
Research on Marxist Aesthetics
关键词
谢林
自由
必然性
马克思主义悲剧观
同构与差异
Freedom
necessity
Marxist conception of tragedy
Isomorphism and Difference
作者简介
严杭迪,复旦大学哲学学院博士生,研究方向为谢林哲学
