【摘要】： 現(xiàn)實(shí)主義是一種古老的文藝?yán)碚?在其理論形成的初期,它標(biāo)榜一種對(duì)“客觀現(xiàn)實(shí)”反映與描寫。但是隨著理論自身的發(fā)展,它更多地是以實(shí)證主義的方式來處理“客觀現(xiàn)實(shí)”與“藝術(shù)反映”之間的關(guān)系。特別是以教條化的唯物主義的建構(gòu)視角,形成了以反映論為前提以意識(shí)形態(tài)為指歸以“典型論”為典范要求的現(xiàn)實(shí)主義理論。這種把理論政治化教條化的做法使得現(xiàn)實(shí)主義自身既不能真實(shí)地反映現(xiàn)實(shí),又缺失了藝術(shù)自律的尷尬境地,而且喪失了批判的本質(zhì)特征。形成這一困境的根本在于現(xiàn)實(shí)主義理論是在主客二分的形而上學(xué)的思維模式中形成的,而以盧卡奇布萊希特加洛蒂為代表的理論家則從不同的方面提出了對(duì)現(xiàn)實(shí)主義理論的修正。 盧卡奇的現(xiàn)實(shí)主義理論是以“總體性”原則為核心的,并且在“總體性”之中,以黑格爾辯證法的方式體現(xiàn)創(chuàng)作主體性,以此來保證現(xiàn)實(shí)主義藝術(shù)的自律。在此基礎(chǔ)之上,盧卡奇要求“典型”理論具有“總體性”的氣質(zhì),認(rèn)為正是這種“總體性”保證了“人的完整性”,也就保證了“人道主義”的本質(zhì)特征。雖然盧卡奇深刻地認(rèn)識(shí)到了現(xiàn)實(shí)主義深陷在主客二分的認(rèn)識(shí)論之中,但盧卡奇只是在黑格爾辯證法的基礎(chǔ)上,把現(xiàn)實(shí)主義的方方面面粘合在“總體性”原則下,并沒有解決主客二元的對(duì)立,甚至使得現(xiàn)實(shí)主義進(jìn)一步陷入了“天啟論”。 布萊希特以創(chuàng)作方法論的視角展現(xiàn)了他的以表現(xiàn)主義與“階級(jí)性”為核心的現(xiàn)實(shí)主義觀。但布萊希特所理解的“階級(jí)性”并不是從機(jī)械反映論的角度來理解的,是從個(gè)體情感體驗(yàn)的角度來看待“階級(jí)性”的。而且如何看待布萊希特現(xiàn)實(shí)主義的表現(xiàn)主義傾向與現(xiàn)實(shí)主義之現(xiàn)實(shí)觀之間的聯(lián)系也是理論的疑點(diǎn)。加洛蒂的“無邊的現(xiàn)實(shí)主義”具有存在論意味,但加洛蒂僅僅是指出了必須對(duì)傳統(tǒng)現(xiàn)實(shí)主義主客二分的思維模式進(jìn)行反思,僅僅是給出了人與世界具有某種感性的普遍關(guān)系,但卻沒有指出這種關(guān)系是如何發(fā)生的。故而加洛蒂?zèng)]有從深刻的存在論視域看待現(xiàn)實(shí)主義。 我們不得不從海德格爾的“此在”的基礎(chǔ)存在論出發(fā),從人的存在維度出發(fā),把人的存在同人的實(shí)際生存聯(lián)系在一起,從人的此在性活動(dòng)中,找尋“存在”的意義,并且從此在的維度,以審美活動(dòng)的生成性特征為為前提注解審美活動(dòng)。這為我們從存在論的高度理解馬克思的實(shí)踐觀提供了新的理論范式:第一,從實(shí)際生活與現(xiàn)實(shí)世界的視角來理解人的“感性活動(dòng)”與存在。第二,從具體的社會(huì)關(guān)系以及人的復(fù)雜的現(xiàn)實(shí)性出發(fā)思考具體的“現(xiàn)實(shí)的人”以及人類的全部歷史。第三,馬克思的實(shí)踐觀消解了教條化的唯物主義的立場(chǎng),把人的實(shí)踐本質(zhì)與存在本質(zhì)的生成性看作人的“此在”的基本特點(diǎn)。由此,馬克思的實(shí)踐觀無疑具有存在論的意味,為我們重新看待與審視現(xiàn)實(shí)主義理論的矛盾面提供了可能,也為我們從人與世界的生成性的關(guān)系為看待審美活動(dòng)的生成性奠定了基礎(chǔ),更為現(xiàn)實(shí)主義理論在創(chuàng)作主體——文學(xué)文本——文學(xué)接受這一審美的藝術(shù)的動(dòng)態(tài)過程中的體現(xiàn)奠定了話語的基礎(chǔ)。
[Abstract]:Realism is an old theory of literature and art. In the early stage of its theoretical formation, it is a reflection and description of the "objective reality". But with the development of the theory itself, it is more of a positivism to deal with the relationship between the "objective reality" and the "artistic reflection". In particular, the theory of realism, which is based on the reflection of reflection, is formed on the premise of anti-reflection as a model for the "typical theory". The practice of politicizing the theory so that the realism can not only truly reflect the reality, but also the embarrassed situation of the self-discipline of the art, and has lost the essential characteristics of the criticism. The essence of the formation of this dilemma is that the realism theory is formed in the mode of thinking of the subject's bipartite metaphysics, while the theorists, represented by Luca Brecht and Lotilotti, put forward the amendments to the theory of realism from different aspects. Lukic's theory of realism is at the core of the "general" principle, and in the "general", the creative subjectivity is embodied in the way of Hegel's dialectics, so as to guarantee the art of realism. On the basis of this, Lukic asked the typical "theory to have the general" temperament, and it is that the totality "ensures the integrity of the human person", and also guarantees the "humanitarianism". In spite of the deep understanding that realism is deep in the two-to-two epistemology of the subject, Lukic is only on the basis of Hegel's dialectics, and it does not solve the dualism of the master. The opposite of the "the theory of the sky" . Brecht shows his expressionism and "class nature" as the core from the perspective of the creation methodology But Brecht's understanding of the "class nature" is not to be understood from the point of view of the mechanical reflection, from the angle of the individual's emotional experience. The Relationship between the Expressionism of Brecht's Realism and the Realistic View of Realism; It is also the question of the theory. The "an edge of realism" of Ancelotti has the sense of existence, but Carlo Ancelotti merely points out that the thought pattern that must be divided by the traditional realist main passenger must be reflected, and only the general relation between the person and the world is given, but it is not pointed out That's how it's going to take place. So, Carlo Ancelotti doesn't see from a deep, existential view. In view of realism, we have to start from the basic ontology of Heidegger's "this is" and, from the existence of human existence, link the existence of human being with the actual existence of human beings, and find the "exist" from the human's sexual activity. The significance of and from this dimension to the generation of aesthetic activities. It provides a new theoretical paradigm for us to understand Marx's practice view from the perspective of the ontology, first, from the perspective of the real world and the real world. The second, from the specific social relationship and the human's complex reality, consider the specific "a realman" and the whole history of human beings. Third, Marx's view of practice has digested the position of the materialistic materialism, and regarded the nature of human's practice and the existence of the existence of the essence as the" this is". As a result, Marx's view of practice has no doubt of the sense of existence, and provides a possibility for us to re-view and examine the contradiction of the theory of realism, and also to view the aesthetic of the relationship between the human and the world. The formation of the activity lays the foundation, and the more realistic theory is in the dynamic process of the creation of the aesthetic art of the subject _ literary text _ literature
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：I0

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 劉向菲;中國(guó)現(xiàn)代文論中典型理論流變考論[D];鄭州大學(xué);2011年

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本文編號(hào)：2475191