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本文对东欧新马克思主义喜剧美学思想进行梳理,主要关注布达佩斯学派哲学美学家赫勒对喜剧现象的异质性阐释、波兰哲学人文学派哲学家科拉科夫斯基关于柏格森喜剧理论的重构以及捷克存在人类学派杰出思想家科西克的喜剧文学批评。尽管三者的喜剧美学具有差异性,但是其共同倾向在于以人的存在和价值来审视喜剧现象,表现出鲜明的人道主义特色;从喜剧的美学思考上升到对艺术观念的理解;关注喜剧与公共领域、喜剧与自由解放、喜剧与社会体制等文化政治学问题;把喜剧现象纳入现代性视野加以考察,挖掘喜剧美学的历史性特征。虽然东欧新马克思主义喜剧美学还值得商榷,但是它的独特的话语表达发人深省,丰富了当代马克思主义美学形态。
This paper sorts out the neo-Marxist comic aesthetics in Eastern Europe, mainly focusing on the heterogeneous interpretation of the phenomenon of comedy by the philosophy philosopher Hubert of Budapest School. Kolakowski’s poetic theory of Berksen’s comedy As well as the criticism of Comic in Comic of the prominent anthropological thinker in Czech. Although the three comedic aesthetics is different, its common tendency is to examine the comedy phenomenon with the existence and value of human beings, showing distinctive humanitarian features; from the aesthetics of comedy to the understanding of artistic concepts; Public areas, comedy and liberation, comedy and social system and other issues of culture and politics; the comedy phenomenon into the modern field of vision to inspect, tap the historic characteristics of comedy aesthetics. Although the neo-Marxist comedy aesthetics in Eastern Europe is still debatable, its unique discourse expression deepens and enriches contemporary Marxist aesthetic forms.