摘要
与其他社会主义国家情况一样,在南斯拉夫,文化艺术是非常重要的政治问题,而马克思主义同时既是由共产主义者联盟所控制的官方意识形态,也是一个发出批评声音的领域。在南斯拉夫解体到新国家形成以及从社会主义转变为资本主义的过程中,文化领域失去了其意识形态的力量,马克思主义几乎不再发挥公共影响,其重要性已远远不如从前,其地位业已为后结构主义和后现代主义理论所取代。但是,这场危机也使得被边缘化的马克思主义重新有机会成为一种有说服力的、有创造性的因而有可能产生实际影响的思考方式。在社会主义时期出现的审美马克思主义,是对官方文化意识形态的一种乌托邦批评,并与之争夺马克思主义正统的地位,而在危机时期,主要是由艺术家们自己将马克思主义的方法与后结构主义和后现代美学(或反美学)结合起来。他们寻找的不是正统的说法而是实用的答案:在从晚期资本主义向后资本主义的转变中,艺术能起到什么作用?它能否重新拥有某种审美乌托邦的视野?但是,他们的努力最终并没有得到想要的答案,而是造成了一种'化圆为方——做不可能之事'的情况。在审美和艺术领域,他们所生产的是一种所谓的'真实的乌托邦'——当代性的一种自相矛盾的说法。
As in other socialisms, artistic culture was a very important political issue in Yugoslavia, and Marxism was at the same time its official ideology in hands of the League of Communists and a field of expression for critical voices. In transition from Yugoslavia to new nation-states and from socialism to capitalism, cultural field lost its ideological weight and Marxism nearly disappeared from public use. Its place, now much less important, was taken by post-structuralist and post-modernist theories.Then, the Crisis gave marginalized Marxism another chance to appear as persuasive and productive way of thought with a possible practical impact. While in the period of socialism aesthetic Marxism was developed as an utopian critique of official cultural ideology competing with it for the position of Marxist orthodoxy, in period of the Crisis elements of Marxist approach are engaged together with post-structuralist and postmodern(anti-)aesthetics mostly by artist themselves. They do not look for orthodoxy but for practical answers: what can art do in transition from late capitalism to postcapitalism, and can it embrace some kind of aesthetic utopian vision again? Instead of getting the answer, these attempts produce a situation of "squaring the circle". What they produce in aesthetics and in art is so-called real utopia — an oxymoron of contemporaneity.
出处
《马克思主义美学研究》
CSSCI
2017年第2期161-178,7-8,共20页
Research on Marxist Aesthetics
基金
国家社科基金重大项目“当代美学的基本问题及批评形态研究”(项目批准号:15ZDB023)的阶段性成果之一
