《巴黎手稿》文藝美學(xué)思想導(dǎo)讀

《巴黎手稿》

文藝美學(xué)思想導(dǎo)讀

傅其林教授一、背景回顧1、馬克思簡(jiǎn)介

KarlMarx（1818-1883）列寧：《卡爾?馬克思》（1914）

2、馬克思與世界文學(xué)柏拉威爾：《馬克思與世界文學(xué)》S.S.Prawer,KarlMarxandWorldLiterature,1976.

（1）講故事能手

（2）詩(shī)人職業(yè)夢(mèng)想詩(shī)創(chuàng)作的焰流潺潺流暢從您胸襟涌向我心田，崇高廣闊，敘談衷腸，而我撫育它們?cè)谛拈g。您的形象光輝屹立，猶如風(fēng)神之聲，慈愛的翅翼輕柔地覆蓋上鮮艷色彩。我傾聽悄悄聲響，我望見霞光一道，在那遙遠(yuǎn)的蒼穹，緩慢地漂泊蕩漾，時(shí)而顯現(xiàn)，時(shí)而俯沖低降，低降只為再次直沖云霄上。內(nèi)心的斗爭(zhēng)一旦得到寧?kù)o，我用詩(shī)歌抒發(fā)痛苦和歡暢。

依傍著溫柔的體形，我的心靈欣喜若狂，形態(tài)滋長(zhǎng)在我心間，經(jīng)受您那烈火錘煉。它們抖擻精神，舒展愛撫的翅翼，再次歡快閃爍在創(chuàng)作者的心田里。

（3）博士論文的文學(xué)與哲學(xué)融合《德謨克利特的自然哲學(xué)與伊壁鳩魯?shù)淖匀徽軐W(xué)的差異》（1841）普羅米修斯式的造反文化英雄普羅米修斯：“你要知道，我寧肯忍受痛苦也不愿受人奴役：我寧肯被縛住在崖石上，也不愿作宙斯的忠順奴仆。”

（4）美學(xué)與藝術(shù)研究（1841年以后）“我們從馬克思十九世紀(jì)四十年代初期閱讀的書籍筆記里可以清楚地看到他即使埋頭于經(jīng)濟(jì)研究，內(nèi)心還是經(jīng)常與文學(xué)互相參證。”

“文學(xué)藝術(shù)以許多不同方式進(jìn)入巴黎手稿的領(lǐng)域?！保ǖ?9頁(yè)）3、《巴黎手稿》的出現(xiàn)

馬克思從1843年10月下旬離開德國(guó)到1845年2月初移居比利時(shí)的布魯塞爾為止，一直住在巴黎近郊，這一時(shí)期被稱作“巴黎時(shí)期”?！栋屠枋指濉纷钤缡?932年，又名《1844年經(jīng)濟(jì)學(xué)哲學(xué)手稿》(Marx,EconomicandPhilosophicManuscriptsof1844)。二、《巴黎手稿》文藝美學(xué)思想1、實(shí)踐勞動(dòng)產(chǎn)生美

Forlabor,lifeactivity,productivelifeitself,appearstomaninthefirstplacemerelyasameansofsatisfyinganeed–theneedtomaintainphysicalexistence.Yettheproductivelifeisthelifeofthespecies.Itislife-engenderinglife.Thewholecharacterofaspecies,itsspecies-character,iscontainedinthecharacterofitslifeactivity;andfree,consciousactivityisman’sspecies-character.Lifeitselfappearsonlyasameanstolife.

Theanimalisimmediatelyonewithitslifeactivity.Itdoesnotdistinguishitselffromit.Itisitslifeactivity.Manmakeshislifeactivityitselftheobjectofhiswillandofhisconsciousness.Hehasconsciouslifeactivity.Itisnotadeterminationwithwhichhedirectlymerges.Consciouslifeactivitydistinguishesmanimmediatelyfromanimallifeactivity.Itisjustbecauseofthisthatheisaspecies-being.Oritisonlybecauseheisaspecies-beingthatheisaconsciousbeing,i.e.,thathisownlifeisanobjectforhim.Onlybecauseofthatishisactivityfreeactivity.Increatingaworldofobjectsbyhispersonalactivity,inhisworkuponinorganicnature,manproveshimselfaconsciousspecies-being,i.e.,asabeingthattreatsthespeciesashisownessentialbeing,orthattreatsitselfasaspecies-being.Admittedlyanimalsalsoproduce.Theybuildthemselvesnests,dwellings,likethebees,beavers,ants,etc.Butananimalonlyproduceswhatitimmediatelyneedsforitselforitsyoung.Itproducesone-sidedly,whilstmanproducesuniversally.Itproducesonlyunderthedominionofimmediatephysicalneed,whilstmanproducesevenwhenheisfreefromphysicalneedandonlytrulyproducesinfreedomtherefrom.Ananimalproducesonlyitself,whilstmanreproducesthewholeofnature.Ananimal’sproductbelongsimmediatelytoitsphysicalbody,whilstmanfreelyconfrontshisproduct.Ananimalformsonlyinaccordancewiththestandardandtheneedofthespeciestowhichitbelongs,whilstmanknowshowtoproduceinaccordancewiththestandardofeveryspecies,andknowshowtoapplyeverywheretheinherentstandardtotheobject.Manthereforealsoformsobjectsinaccordancewiththelawsofbeauty.2、異化勞動(dòng)與文化異化（1）什么是異化勞動(dòng)？《全集》第97-98（2）

異化的表現(xiàn)形式

（3）人的存在的商品化與拜物教（4）人需要的異化（4）文化存在異化嗎？《全集》第42卷，第121頁(yè)）

3、超越異化的人的本真性存在如何可能？（1）自然主義與人道主義（2）個(gè)體性與總體性（3）生命感性的理性存在（4）審美生成的可能性：主體與對(duì)象的現(xiàn)象學(xué)關(guān)聯(lián)Ontheonehand,therefore,itisonlywhentheobjectiveworldbecomeseverywhereformaninsocietytheworldofman’sessentialpowers–humanreality,andforthatreasontherealityofhisownessentialpowers–thatallobjectsbecomeforhimtheobjectificationofhimself,becomeobjectswhichconfirmandrealisehisindividuality,becomehisobjects:thatis,manhimselfbecomestheobject.Themannerinwhichtheybecomehisdependsonthenatureoftheobjectsandonthenatureoftheessentialpowercorrespondingtoit;foritispreciselythedeterminatenatureofthisrelationshipwhichshapestheparticular,realmodeofaffirmation.Totheeyeanobjectcomestobeotherthanitistotheear,andtheobjectoftheeyeisanotherobjectthantheobjectoftheear.Thespecificcharacterofeachessentialpowerispreciselyitsspecificessence,andthereforealsothespecificmodeofitsobjectification,ofitsobjectivelyactual,livingbeing.Thusmanisaffirmedintheobjectiveworldnotonlyintheactofthinking,||VIII|butwithallhissenses.Ontheotherhand,letuslookatthisinitssubjectiveaspect.Justasonlymusicawakensinmanthesenseofmusic,andjustasthemostbeautifulmusichasnosensefortheunmusicalear–is[no]objectforit,becausemyobjectcanonlybetheconfirmationofoneofmyessentialpowers–itcanthereforeonlyexistformeinsofarasmyessentialpowerexistsforitselfasasubjectivecapacity;becausethemeaningofanobjectformegoesonlysofarasmysensegoes(hasonlyameaningforasensecorrespondingtothatobject)–forthisreasonthesensesofthesocialmandifferfromthoseofthenon-socialman.Onlythroughtheobjectivelyunfoldedrichnessofman’sessentialbeingistherichnessofsubjective