摘要
面对发达资本主义社会新型的控制形式下强大的社会整合力,马尔库塞指出唯有艺术向度保留有一种表达的自由,并力图在审美艺术中发现其政治潜能。在他看来,审美形式作为艺术实现自律的根本,使艺术异在于现实并赋予了艺术审美这种表达的自由,艺术的政治潜能正是在其自律的基础上实现着对现实的否定与超越。他创造性地将对发达工业社会的批判、寻求人的解放与艺术审美结合起来,指出人的解放之路实质上是通向审美之路。然而,由于马尔库塞对艺术审美的政治潜能的高估,使得其视野中艺术审美的政治潜能无不带有一种乌托邦的浪漫色彩。
apitalist society, Marcuse pointed out that the artistic dimension retained an expressive freedom and tried to find the political potential in the aesthetics. As the fundamentals of art＇s self discipline, the aesthetic form made art different from reality and created the aesthetic form for it. Beyond the reality and on the basis of art＇s self discipline, the political potential of the art was denied. He creatively combined the critique to capitalist society with the possibility of people＇s liberation and aesthetics, and indicated that the way of the people＇s liberation was essentially the one leading to the aesthetics. However, in Marcuse＇s view, the political potential of art had a romantic color of utopia.
出处
《西南交通大学学报（社会科学版）》
CSSCI
2012年第5期81-86,共6页
Journal of Southwest Jiaotong University(Social Sciences)
关键词
马尔库塞
艺术
审美形式
异在性
政治潜能
乌托邦
Marcuse
art
aesthetic form
heterogeneity
the political possibility
utopia
