| 文艺的审美性与意识形态性 |
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| 引用本文： | 陈伟.文艺的审美性与意识形态性[J].上海师范大学学报(基础教育版),2002,31(4):44-49. |
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| 作者姓名： | 陈伟 |
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| 作者单位： | 上海师范大学人文学院，上海200234 |
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| 摘 要： | 阿尔都塞认为“每一种艺作品，都是由一个既是审美的又是意识形态意图产生出来的”。这个观点隐含着二元论的倾向，与马克思主义的观点和方法是不一致的。马克思主义认为，人是按照美的规律来塑造物体。美的规律简言之就是，在特定的历史阶段中，最大程度地把握客体对象，同时最大程度地伸张人的主体自由性。因而在特定的历史时期美的规律的性质必然是统一的，而不是多样的。美的规律不是意识形态，而是实践的指导法则和要求。艺作品里意识形态性的强弱是依照美的规律的需要而增减的，而不能与审美性形成此起彼伏的对立面。阿尔都塞的观点在中国产生的不好影响应该被澄清。
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| 关 键 词： | 文艺作品 审美性 美学规律 意识形态性 阿尔都塞 审美体验 |
| 文章编号： | 1004-8634(2002)04-0044-(06) |
| 修稿时间： | 2002年3月15日 |
The Aesthetic and Ideological Aspects of Literature and Art |
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| CHEN Wei.The Aesthetic and Ideological Aspects of Literature and Art[J].Journal of Shanghai NOrmal University,2002,31(4):44-49. |
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| Authors: | CHEN Wei |
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| Abstract: | Althusser said, 'Each work of literature and art is born out of an intention which is both aesthetic and ideological. ' This viewpoint implies the tendency of dualism, which is different from the viewpoints and methods of Marxism. Marxism maintains that people create objects or substances according to the law of beauty. The law of beauty, to put it simply, means to know well the objective and to broaden man's principal freedom greatly in a certain period of history. Therefore, under the particular conditions of a given historical period, the special qualities of the law of beauty must be united instead of being various. The law of beauty is not an ideology, but the guiding principle and requirement for practice. The strength of ideology in works of literature and art increases or decreases along with the requirement of the law of beauty. And it can't be the opposite to the aesthetic. For this reason, the side effects produced by Althusser's viewpoint should be clarified. |
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| Keywords: | the aesthetic aspect the ideological aspect the law of beauty |
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