本文選題：西馬意識(shí)形態(tài)批評(píng) + 馬克思主義文論　； 參考：《復(fù)旦大學(xué)》2007年博士論文

【摘要】： 在影響我國當(dāng)代文論發(fā)展的西方理論話語中，西方馬克思主義文論(以下簡(jiǎn)稱西馬文論)不僅因其理論本身的魅力而且因其對(duì)中國馬克思主義文論來說所獨(dú)具的親和力而占有重要地位�？疾熘形黢R克思主義文論的關(guān)系，既可以是平行研究，也可以是影響研究，本文屬于后者，即在馬克思主義文論中國化視閾下考察西馬意識(shí)形態(tài)批評(píng)在中國當(dāng)代文論中的影響及效應(yīng)。 西馬文論對(duì)我國新時(shí)期文論產(chǎn)生了深層次影響，然而影響并非單向的，本文在歷時(shí)性梳理西馬文論在我國語境中接受和研究的同時(shí)，論證了中國戲曲傳統(tǒng)和思想以及毛澤東思想作為理論資源分別在布萊希特、阿爾都塞、馬舍雷等西馬理論家理論話語中的存在，強(qiáng)調(diào)西馬文論作為馬克思主義文論在特定社會(huì)文化語境中具體化的成果，一定程度上受到作為馬克思主義文論中國化成果的毛澤東思想的影響，反過來又給我們思考馬克思主義文論中國化以啟示。 本文對(duì)作為核心概念的意識(shí)形態(tài)進(jìn)行了概念史的梳理，指出馬克思理論話語中的意識(shí)形態(tài)并非僅僅是否定性的、批判性的，西馬理論家正是在此基礎(chǔ)上將其由作為虛假意識(shí)的階級(jí)向度擴(kuò)展到心理、語言和日常生活等向度，而這種多元化理解則成為西馬文論影響新時(shí)期文論的重要支點(diǎn)之一。從新時(shí)期文論發(fā)展實(shí)際以及西馬接受和研究狀況出發(fā)，本文從西馬克思主義文論在意識(shí)形態(tài)與藝術(shù)生產(chǎn)、意識(shí)形態(tài)與審美、意識(shí)形態(tài)與審美烏托邦等三個(gè)論域切入對(duì)西馬意識(shí)形態(tài)批評(píng)之中國影響和效應(yīng)的考察。 藝術(shù)生產(chǎn)論不僅是西馬意識(shí)形態(tài)批評(píng)的重要組成部分，也是我國當(dāng)代馬克思主義文論的發(fā)展進(jìn)程中的重要問題域，中西馬克思主義藝術(shù)生產(chǎn)論共同根植于馬克思關(guān)于藝術(shù)生產(chǎn)的經(jīng)典論述之中，并由此確立溝通和對(duì)話的基礎(chǔ)。本文分別對(duì)包括從本雅明到伊格爾頓在內(nèi)的西馬藝術(shù)生產(chǎn)論以及中國現(xiàn)代文論視域中的藝術(shù)生產(chǎn)論進(jìn)行了梳理，并立足于新時(shí)期語境考察了中西馬克思主義藝術(shù)生產(chǎn)論的溝通和對(duì)話，闡述了西馬藝術(shù)生產(chǎn)論之中國影響和效應(yīng)的動(dòng)力機(jī)制、展開過程以及效應(yīng)點(diǎn)所在，指出西馬藝術(shù)生產(chǎn)論在中國的理論旅行中淡化了其原本對(duì)于藝術(shù)與資本、審美文本與意識(shí)形態(tài)生產(chǎn)的重視，轉(zhuǎn)而拓展了新時(shí)期文藝本質(zhì)論問題的理論視野，，并成為觀察和思考當(dāng)文化產(chǎn)業(yè)以及展開文化產(chǎn)業(yè)研究的理論依據(jù)。 意識(shí)形態(tài)與審美之間關(guān)系是馬克思主義文論的重要論域。本文分別進(jìn)行了考察了中西方馬克思主義文論在各自不同的歷史語境對(duì)此的思考和探索，并通過他們與馬克思主義經(jīng)典作家基本闡述的理論淵源而討論中西方馬克思主義文論之間的關(guān)聯(lián)域，指出新時(shí)期審美意識(shí)形態(tài)論是中國新時(shí)期馬克思主義文論中國化的重要成果。伴隨著社會(huì)經(jīng)濟(jì)生活的轉(zhuǎn)型以及西馬文論研究的深入，意識(shí)形態(tài)與審美問題自90年代后期起受到了重新審視，本文集中討論了對(duì)于文藝的政治維度以及審美意識(shí)形態(tài)論的反思，認(rèn)為反思表明了我國文藝?yán)碚撗芯吭谡J(rèn)識(shí)文藝本質(zhì)問題上的深化，但應(yīng)警惕非此即彼的對(duì)立思維方式的陷阱。 西馬審美烏托邦傾向無可否認(rèn)，但不應(yīng)以其虛妄性、非現(xiàn)實(shí)性等負(fù)面認(rèn)識(shí)遮蔽了對(duì)于其正面價(jià)值的發(fā)掘。本文考察了作為西馬審美烏托邦傾向之文化和理論根源的西方文化烏托邦傳統(tǒng)、審美本身的超越性維度以及近代思想家的理論探索，闡述了西馬審美烏托邦傾向中所內(nèi)含的人學(xué)視野、批判精神和超越性維度，討論了他們?cè)谥袊聲r(shí)期語境中之被遮蔽的根源。本文在考察西馬審美烏托邦傾向正負(fù)面因素的基礎(chǔ)上以新時(shí)期文論關(guān)于“人”的思考以及對(duì)于審美超越性的認(rèn)識(shí)為中心，討論了中西馬克思主義文論對(duì)話中的錯(cuò)位，闡述了在消費(fèi)意識(shí)形態(tài)蔓延的社會(huì)文化語境中西馬審美烏托邦傾向?qū)τ谛聲r(shí)期文論建設(shè)的影響和啟示。
[Abstract]:In the western theoretical discourse that affects the development of Chinese contemporary literary theory, the western Marx theory (hereinafter referred to as the West horse theory) not only occupies an important position because of its theoretical charm but also for its unique affinity to Chinese Marx's literary theory. The study of the relationship between the Chinese and Western Marx doctrine is not only parallel research. It can also be a study of influence. This article belongs to the latter, that is, to examine the influence and effect of the Western Horse ideological criticism in the Chinese contemporary literary theory under the view of the Sinicization of Marx's literary theory.
The theory of western Malaysia has a deep influence on the literary theory of our country in the new period, but the influence is not one way. In this article, this article combed the acceptance and study of the Western Horse theory in my national language, and demonstrated the traditional Chinese opera and thought and Mao Zedong thought as the theoretical resources in Bly Hitt, Al Du Jose, Machere and other western Malaysia, respectively. The existence of family theory discourse emphasizes that the Western Horse theory, as a result of the materialization of Marx's literary theory in the specific social and cultural context, is influenced to some extent by Mao Zedong thought as the achievement of the Sinicization of Marx's literary theory, and in turn gives us inspiration for thinking of the Sinicization of Marx's literary theory.
This article combs the concept history of the ideology as the core concept, and points out that the ideology in Marx's theoretical discourse is not merely qualitative, and the critical, the Western Horse theorist extends it from the class direction as a false consciousness to the psychology, language and daily life, and this diversity. Understanding has become one of the important pivot points that influence the literary theory of the new period in the new period. From the development of literary theory in the new period and the status of the acceptance and study of Western Horse, this article from the Si Max doctrine in ideology and art production, ideology and aesthetics, ideology and Aesthetic Utopia. Criticism of the influence and effect of China.
The theory of art production is not only an important part of the ideological criticism of western Malaysia, but also an important problem domain in the development process of contemporary Marx's literary theory in China. The theory of the art production of the western and Western Marx doctrine is rooted in Marx's classic exposition of art production, and thus establishes the basis of communication and dialogue. The theory of art production, including the theory of art production from Walter Benjamin to Eagleton and the view of Chinese modern literary theory, is combed, and based on the context of the new period, the communication and dialogue between the Chinese and Western Marx doctrine art production theory is investigated, and the dynamic mechanism of the influence and effect of the theory of the production of Western Horse is expounded. In the course of opening and the effect point, it is pointed out that the theory of art production of Sima desalinated its original emphasis on art and capital, aesthetic text and ideological production in China's theoretical travel, and expanded the theoretical horizon of the question of the essence of literature and art in the new period, and became a study of cultural industry and the study of cultural industry. The theoretical basis.
The relationship between ideology and aesthetics is an important domain of Marx's theory of literary theory. This article examines the thinking and exploration of the Chinese and Western Marx doctrine in different historical contexts, and discusses the Chinese and Western Marx theory through the origins of their theory and theory which are basically explained by the classic Marx writers. The relationship between the aesthetic ideology of the new period is an important achievement of the Sinicization of Marx's literary theory in the new period of China. With the transformation of social and economic life and the deepening of the study of western Malaysia, the ideological and aesthetic issues have been reexamined since the late 90s. This article focuses on the politics of literature and art. The reflection on the dimension of governance and the theory of aesthetic ideology suggests that reflection shows the deepening of the study of literary theory in our country in the understanding of the essence of literature and art, but we should be on the alert for the trap of opposing thinking mode.
There is no denying the aesthetic Utopian tendency of esthetic, but it should not cover its positive value with its false and unrealistic negative cognition. This article examines the Western cultural Utopian tradition, the transcendence dimension of aesthetic itself and the theoretical exploration of modern thinkers as the cultural and theoretical roots of the esthetic Utopian tendency of the West horse. In this paper, the root of the masking of the aesthetic Utopianism in the aesthetic utopianism of the Western horse was discussed. The reasons for their concealed in the new era of China were discussed. On the basis of examining the positive and negative factors of the aesthetic Utopianism in the Western Horse, this paper took the thinking of "man" and the aesthetic transcendence in the new period. The understanding of sex is the center, and the dislocation in the dialogue between Chinese and Western Marx doctrine is discussed, and the influence and Enlightenment of the aesthetic Utopian tendency of the Western horse to the construction of the literary theory in the new period are expounded in the social and cultural context of the spread of the consumption ideology.
【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2007
【分類號(hào)】：I06

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 戴冠青;;西方馬克思主義文論對(duì)中國當(dāng)代文論建設(shè)的影響[J];中國中外文藝?yán)碚撗芯?2011年00期

相關(guān)碩士學(xué)位論文 前4條

1 姚倩;美學(xué)、身體、意識(shí)形態(tài)[D];陜西師范大學(xué);2011年

2 楊成樂;當(dāng)代中國社會(huì)主義意識(shí)形態(tài)安全問題研究[D];東北農(nóng)業(yè)大學(xué);2010年

3 曾佳;文學(xué)黨性原則在《講話》中的接受和變異研究[D];南昌大學(xué);2012年

4 蘇建華;布萊希特的馬克思主義戲劇美學(xué)思想研究[D];黑龍江大學(xué);2012年

本文編號(hào)：2112996