本文選題：馬克思 + 視域��； 參考：《文藝?yán)碚撆c批評(píng)》2013年03期

【摘要】：正從黑格爾直至當(dāng)下的近兩百年間,宣告文學(xué)藝術(shù)死亡的聲音不絕于耳。但細(xì)察這些藝術(shù)終結(jié)論,并沒有一家表達(dá)的是真正意義上的藝術(shù)消亡,與其說是對(duì)藝術(shù)前途的悲觀絕望,毋寧理解為藝術(shù)觀念因現(xiàn)實(shí)語境的轉(zhuǎn)型而對(duì)藝術(shù)前景抱持的一種審慎樂觀態(tài)度。為不望文生義地在中國學(xué)界引致更多飽含情緒化、表態(tài)式的哀嘆或慶賀之論,實(shí)有必要準(zhǔn)確地名之以"藝術(shù)的終結(jié)——轉(zhuǎn)型論"。
[Abstract]:In the past two hundred years from Hegel to the present, the voices of literary and artistic death have been heard. But a closer look at these end theories of art does not express the true demise of art, rather than the pessimism and despair of the future of art. It is rather a cautious optimistic attitude towards the artistic outlook because of the transformation of the realistic context. In order to lead to more emotionalism in Chinese academic circles, it is necessary to accurately place names with "the end of art-theory of transformation".
【作者單位】： 華中師范大學(xué)文學(xué)院;長江師范學(xué)院文學(xué)與新聞學(xué)院;
【基金】：國家社科基金重大項(xiàng)目[11ZD078]的階段性成果
【分類號(hào)】：J0-02
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本文編號(hào)：1973226