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在《具体的辩证法》中,科西克对艺术问题的研究可从三个方面来看:第一,艺术真理是由实在之真理和人的存在之真理相互作用形成的,人类审美官能的发展在其中发挥中介作用。第二,艺术的永恒性和暂时性之间的辩证转化是人类超越暂时性,创造永恒性的实践能力的体现。永恒性的缺失是现代性的时间危机,也是人的实存状态的危机。第三,艺术创造是一种真正的劳动,与实在之真理保持关联,具有劳动的对象化特征。艺术作为一种自由的创造活动能够实现对伪具体世界的摧毁。科西克对艺术问题的讨论具有鲜明的实践存在论特征,是对马克思主义唯物辩证法的发展和运用,相较存在主义美学有明显差异。
In “concrete dialectics”, Kosyk’s research on the art issue can be viewed from three aspects. First, artistic truth is formed by the interaction of the truth of reality and the truth of human existence. The development of human aesthetic function In which to play an intermediary role. Second, the dialectical transformation between the eternal and the transience of art is a manifestation of humankind’s transcendence of practice and the creation of perpetual practical abilities. The loss of eternity is a time crisis of modernity and a crisis of the state of human existence. Third, art creation is a real work, which is related to the truth of reality and has the objectified characteristics of labor. Art as a free creative activity can destroy the pseudo-concrete world. Kosik’s discussion of the art issue has a distinctive feature of practice ontology, which is the development and application of Marxist materialist dialectics, with obvious differences from the existentialist aesthetics.