馬爾庫塞論新感性的解放
發(fā)布時間：2018-10-09 11:24
【摘要】： 赫伯特·馬爾庫塞(1898-1979)是美籍德裔哲學(xué)家、美學(xué)家,1933年與法蘭克福學(xué)派的其他成員移民到美國,并在那里渡過了自己的余生。 馬爾庫塞一生寫了大量著作,其中較為世人所熟知的有：《論歷史唯物主義的基礎(chǔ)》(1932),《愛欲與文明》(1955),《蘇聯(lián)的馬克思主義》(1958),《單向度的人》(1964),《論解放》(1969),《反革命與造反》(1972),《審美之維》(1978)等。本文分為三個部分。 第一部分：“新感性”(New Sensibility)的孕育。 發(fā)達的工業(yè)社會受到技術(shù)理性的規(guī)范和操作,人性被扭曲,感性被壓抑。 為消除技術(shù)理性的奴役,馬爾庫塞提出了“新感性”,新感性是一種解放了的、有反抗性的感性。新感性在藝術(shù)中產(chǎn)生。 第二部分：“新感性”與政治革命的離合。 馬爾庫塞在《論解放》中《論新感性》一篇中提出了新感性,這時的政治革命處于高潮,政治革命的發(fā)展過程促進了馬爾庫塞對新感性的思考。馬爾庫塞對當(dāng)時的政治革命充滿信心,認為“新感性”與政治革命有著密切的關(guān)系,新感性的實現(xiàn)需要政治革命的促進。在《反革命與造反》中,他多用“新意識”一詞,而新意識包含了新感性,他還在繼續(xù)進行著新感性的研究。這時的政治革命已經(jīng)進入低潮,馬爾庫塞對當(dāng)時的政治革命仍然充滿信心,新感性的實現(xiàn)仍然需要政治革命的促進,不能獨立完成。但是這時馬爾庫塞認為新感性與政治革命的聯(lián)系沒有那么密切了,受到政治革命的束縛少了,“新感性”與政治革命的關(guān)聯(lián)開始松動。在《審美之維》中,新感性這一概念幾乎不再提及,但是他還在繼續(xù)進行著新感性的研究。當(dāng)時的政治革命已經(jīng)完全失敗,此時的馬爾庫塞對政治革命完全失望,把注意力完全集中在新感性上,認為新感性的實現(xiàn)不再需要政治革命的促進,需要在藝術(shù)中產(chǎn)生,能夠獨立實現(xiàn)。 第三部分：“新感性”與藝術(shù)解放之途。 馬爾庫塞認為新感性的實現(xiàn)能導(dǎo)向解放。而新感性在真正具有自律性的藝術(shù)中產(chǎn)生。馬爾庫塞在他的不同作品中探索了真正具有自律性的藝術(shù),對藝術(shù)自律性的貫徹程度逐步增強。
[Abstract]:Herbert Marcuse (1898-1979) was a German American philosopher and aesthetician who emigrated to the United States with other members of the Frankfurt School in 1933 and spent the rest of his life there. Marcuse wrote a large number of works in his life, among them, "the basis of Historical materialism" (1932), "Eros and Civilization" (1955), "Marxism in the Soviet Union" (1958), "the One-dimensional Man" (1964), "on Liberation" (1969), "counterrevolution and Rebellion" (1972), "Aesthetic Dimension" (1978) and so on. This paper is divided into three parts. The first part: the gestation of (New Sensibility). The developed industrial society is regulated and operated by technological rationality, human nature is distorted and sensibility is suppressed. In order to eliminate the enslavement of technical rationality, Marcuse put forward "new sensibility", which is a kind of liberated, rebellious sensibility. New sensibility comes into being in art. The second part: the separation of the New perception and the political Revolution. Marcuse put forward the new sensibility in "on New Sensibility" in "on Liberation", when the political revolution was at its climax, and the development process of the political revolution promoted Marcuse's thinking on the new sensibility. Marcuse was full of confidence in the political revolution at that time, and believed that the "new sensibility" had a close relationship with the political revolution, and the realization of the new sensibility needed the promotion of the political revolution. In counter-revolution and rebellion, he often uses the word "new consciousness", and the new consciousness contains new sensibility, and he continues to carry on the research of new perception. At that time, the political revolution had entered a low tide, Marcuse was still full of confidence in the political revolution at that time, and the realization of the new perceptual still needed the promotion of the political revolution and could not be completed independently. However, Marcuse thinks that the relationship between the new sensibility and the political revolution is not so close, the shackles of the political revolution are less, and the connection between the "new sensibility" and the political revolution is loosening. In Aesthetic Dimension, the concept of new sensibility is hardly mentioned, but he continues to study it. At that time, the political revolution had completely failed, and Marcuse was completely disappointed with the political revolution. He focused his attention entirely on the new sensibility, and thought that the realization of the new perception no longer needed the promotion of the political revolution, but needed to be produced in art. It can be realized independently. The third part: new sensibility and the way of artistic liberation. Marcuse believes that the realization of new sensibility can lead to liberation. And the new sensibility comes into being in the art of true self-discipline. Marcuse explores the true art of self-discipline in his different works, and the degree of implementation of self-discipline of art is gradually enhanced.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：I0
本文編號：2259170
[Abstract]:Herbert Marcuse (1898-1979) was a German American philosopher and aesthetician who emigrated to the United States with other members of the Frankfurt School in 1933 and spent the rest of his life there. Marcuse wrote a large number of works in his life, among them, "the basis of Historical materialism" (1932), "Eros and Civilization" (1955), "Marxism in the Soviet Union" (1958), "the One-dimensional Man" (1964), "on Liberation" (1969), "counterrevolution and Rebellion" (1972), "Aesthetic Dimension" (1978) and so on. This paper is divided into three parts. The first part: the gestation of (New Sensibility). The developed industrial society is regulated and operated by technological rationality, human nature is distorted and sensibility is suppressed. In order to eliminate the enslavement of technical rationality, Marcuse put forward "new sensibility", which is a kind of liberated, rebellious sensibility. New sensibility comes into being in art. The second part: the separation of the New perception and the political Revolution. Marcuse put forward the new sensibility in "on New Sensibility" in "on Liberation", when the political revolution was at its climax, and the development process of the political revolution promoted Marcuse's thinking on the new sensibility. Marcuse was full of confidence in the political revolution at that time, and believed that the "new sensibility" had a close relationship with the political revolution, and the realization of the new sensibility needed the promotion of the political revolution. In counter-revolution and rebellion, he often uses the word "new consciousness", and the new consciousness contains new sensibility, and he continues to carry on the research of new perception. At that time, the political revolution had entered a low tide, Marcuse was still full of confidence in the political revolution at that time, and the realization of the new perceptual still needed the promotion of the political revolution and could not be completed independently. However, Marcuse thinks that the relationship between the new sensibility and the political revolution is not so close, the shackles of the political revolution are less, and the connection between the "new sensibility" and the political revolution is loosening. In Aesthetic Dimension, the concept of new sensibility is hardly mentioned, but he continues to study it. At that time, the political revolution had completely failed, and Marcuse was completely disappointed with the political revolution. He focused his attention entirely on the new sensibility, and thought that the realization of the new perception no longer needed the promotion of the political revolution, but needed to be produced in art. It can be realized independently. The third part: new sensibility and the way of artistic liberation. Marcuse believes that the realization of new sensibility can lead to liberation. And the new sensibility comes into being in the art of true self-discipline. Marcuse explores the true art of self-discipline in his different works, and the degree of implementation of self-discipline of art is gradually enhanced.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：I0
【引證文獻】
相關(guān)碩士學(xué)位論文 前2條
1 張旭;馬爾庫塞“新感性”思想探析[D];吉林大學(xué);2012年
2 王博;馬爾庫塞的審美救贖思想研究[D];四川師范大學(xué);2012年
，本文編號：2259170
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