“单刀直入”:美学与政治性艺术的特性

发布时间：2018-05-25 16:37

本文选题：审美 + 政治　；参考：《探索与争鸣》2013年06期

【摘要】：先锋派艺术作品并非单一的意识形态的表现物,其形象或话语总是试图表达更为复杂的内涵,并在政治宣传和艺术自律之间打开一个新的审美领域。一方面,它是一个真正意义上的政治宣传手段;另一方面,它已经失去了思想的政治潜力,但它仍然保留着审美性的存在。从1920年开始,先锋派艺术被看作是政治宣传的艺术,既具有艺术自律的审美功能,同时也存在着与之相反的政治功能。在经历了历史的同化过程后逐渐转化为另一种抽象和美的艺术体制,其文本保留着在今天看来极具视觉化的审美效应。今天,它已然褪去了意识形态色彩并逐渐演化成为一种艺术机制。先锋派艺术作品经历着不断失去作品他律性和不断获得(或保留)作品自律性的浮动过程,这一过程不仅使作品逐渐远离先锋派创作的原初性,而且也最终呈现出各种独特性。
[Abstract]:Avant-garde works of art are not a single expression of ideology, their images or words always try to express more complex connotations, and open a new aesthetic field between political propaganda and artistic self-discipline. On the one hand, it is a real means of political propaganda; on the other hand, it has lost the political potential of thought, but it still retains the aesthetic existence. Since 1920, avant-garde art has been regarded as the art of political propaganda, which has not only the aesthetic function of artistic self-discipline, but also the opposite political function. After going through the process of historical assimilation, it is gradually transformed into another kind of abstract and beautiful art system, the text of which retains the aesthetic effect which is very visual in today's view. Today, it has faded the ideological color and gradually evolved into an art mechanism. The avant-garde art works have experienced the floating process of losing the heterogeneity of the works and acquiring (or retaining) the self-discipline of the works, which not only makes the works gradually away from the originality of the avant-garde creation, but also presents all kinds of uniqueness.
【作者单位】：斯洛文尼亚科学与艺术研究院哲学研究所;
【基金】：国家留学基金(201206235003) 教育部人文社会科学重点研究基地重大项目“马克思主义与中国20世纪文学理论的发展研究”(2009JJD750009) 国家社科基金重大项目“新时期文艺理论建设与文艺批评研究”(12&ZD013)
【分类号】：J110.9

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