互文视域下马克思“希腊艺术典范性”论述

谈论古希腊艺术的辉煌是西方近现代文艺理论与美学思潮演进中一个不容绕开的话题,马克思关于古希腊艺术典范性的论述是在这一话语语境下阐发,本身亦构成这一学术谱系链条上的重要一环。马克思在何种意义层面阐释古希腊艺术的"迄今仍不可企及"的审美价值,它与马克思艺术观如何关联,这些问题被关于"物质生产与艺术发展不平衡性"命题的思考长期遮蔽。本文认为,马克思在迥异于从维柯、荷尔德林到席勒等人的路径,亦超越了黑格尔的意义层面上,从以历史唯物主义为基础的艺术生产论出发,认为相比现代社会"人"处于由其与艺术生产、牟取剩余价值等联结起来的利益链条的末端,古代社会"人"作艺术生产的直接和最终目的,人的本质力量的对象化在古代艺术作品中更为鲜明和凸显。正是在这一意义上,古希腊艺术确实显得比现代艺术"崇高得多"。

A Study on Marx's 'Anciet Greek Art Model from the Perspective of Intertextuality

The glory of ancient Greek art is a topic which cannot be ignored in the evolution of the western modern literary and aesthetic theory,and Marx’s exposition is just made in this context,which makes one of important links in the academic pedigree chain.In what sense Marx interprets aesthetic value of ancient Greek art,and how it relates with Marx’s artistic idea,have been covered up by the proposition of imbalance between material production and art development for a long time.Different from routes of Vico,Haertling and Schiller,and also beyond Hegel’s level,Marx thinks,that compared with human in modern society who is located at the end of chains formed by art production,and obtaining surplus value,human in ancient society as direct and ultimate purpose of art production,his object of intrinsic power is more vivid and outstanding.Just in this sense,the ancient Greek art is more noble than modern art.