本文選題：藝術(shù)生產(chǎn)理論　切入點(diǎn)：中國化　出處：《濟(jì)南大學(xué)》2010年碩士論文

【摘要】： 馬克思從政治經(jīng)濟(jì)學(xué)視角考察文藝問題,將藝術(shù)和生產(chǎn)兩個(gè)概念聯(lián)系起來,把藝術(shù)生產(chǎn)與物質(zhì)生產(chǎn)相比較,用作文藝研究的方法論,由此提出了“藝術(shù)生產(chǎn)”的理論。在生產(chǎn)與消費(fèi)的辯證關(guān)系中,馬克思闡釋了藝術(shù)生產(chǎn)的循環(huán)往復(fù)的運(yùn)動(dòng)過程及其規(guī)律。在馬克思之后,西馬文論家對藝術(shù)生產(chǎn)理論做了進(jìn)一步的豐富和發(fā)展。 伴隨改革開放的春風(fēng),藝術(shù)生產(chǎn)理論也西學(xué)東漸傳入中國。藝術(shù)生產(chǎn)理論在國內(nèi)的發(fā)展主要經(jīng)歷了三個(gè)階段。第一個(gè)階段,20世紀(jì)70年代末到80年代初,是對藝術(shù)生產(chǎn)理論的引入時(shí)期。在這一時(shí)期,國內(nèi)文藝?yán)碚摻缭趯?jīng)典馬克思主義文本的重讀中,發(fā)現(xiàn)了馬克思主義關(guān)于藝術(shù)生產(chǎn)的理論,并立即對此理論表現(xiàn)出了極大的興趣。之后,不僅經(jīng)典馬克思主義藝術(shù)生產(chǎn)理論,而且西方馬克思主義者關(guān)于藝術(shù)生產(chǎn)的理論也被源源不斷的譯介進(jìn)來。受此刺激和引發(fā),國內(nèi)學(xué)界圍繞藝術(shù)生產(chǎn)與物質(zhì)生產(chǎn)的不平衡關(guān)系問題,展開了激烈的論爭,一時(shí)間關(guān)于此問題的學(xué)術(shù)文章層出不窮,并且出現(xiàn)了一些富有見的的研究成果。第二個(gè)時(shí)期為80年代初到90年代初,是藝術(shù)生產(chǎn)理論在我國的理論構(gòu)架時(shí)期。在這一時(shí)期,董學(xué)文等學(xué)者回到馬克思經(jīng)典原著中對藝術(shù)生產(chǎn)理論的豐富內(nèi)涵進(jìn)行了系統(tǒng)闡發(fā),并試圖以馬克思主義生產(chǎn)論為邏輯起點(diǎn)建構(gòu)當(dāng)代形態(tài)的馬克思主義文藝?yán)碚摗Ｔ诖似陂g,學(xué)界對藝術(shù)生產(chǎn)理論與反映論、意識形態(tài)論的關(guān)系問題,產(chǎn)生了廣泛論爭。第三個(gè)時(shí)期,即20世紀(jì)90年代至今,是藝術(shù)生產(chǎn)理論在我國的持續(xù)研究運(yùn)用階段。20世紀(jì)90年代初,我國的社會主義商品經(jīng)濟(jì)迅速發(fā)展,文藝產(chǎn)品的通俗性、商品化問題被提了出來。于是,當(dāng)時(shí)的學(xué)者們從理論與實(shí)踐的結(jié)合上,嘗試著運(yùn)用藝術(shù)生產(chǎn)理論來解答當(dāng)前國內(nèi)紛繁復(fù)雜的文藝現(xiàn)象。 通過對藝術(shù)生產(chǎn)理論中國化的歷時(shí)態(tài)梳理,我們發(fā)現(xiàn),藝術(shù)生產(chǎn)理論在新時(shí)期的興起及其之后在國內(nèi)的發(fā)展,都不是一時(shí)的空穴來風(fēng),一方面是理論自身的發(fā)展需要,另一方面也是我國文藝實(shí)踐發(fā)展的內(nèi)在需要。它是與我國社會歷史進(jìn)程,尤其是與我國的政治、經(jīng)濟(jì)、文化政策和思想解放進(jìn)程密切相關(guān)的。 新時(shí)期關(guān)于藝術(shù)生產(chǎn)理論的研究,使我們進(jìn)一步意識到文藝研究方法科學(xué)性的重要性。審美反映論、意識形態(tài)論、藝術(shù)生產(chǎn)理論不僅是馬克思主義文藝學(xué)的三大理論基石,也是我們研究文藝問題的重要方法論。三者之間存在著辯證互補(bǔ)的關(guān)系。若忽視藝術(shù)的審美反映,只談藝術(shù)生產(chǎn)論,將會使藝術(shù)生產(chǎn)與一般的物質(zhì)生產(chǎn)相混同;只強(qiáng)調(diào)審美反映論而看不到藝術(shù)的生產(chǎn)效應(yīng),那么我們的藝術(shù)在市場經(jīng)濟(jì)的語境下可能會越來越脫離社會現(xiàn)實(shí)生活,最終蛻變成象牙塔里的孤芳自賞;同樣,如果過分注重文藝的意識形態(tài)屬性而忽視文藝的審美反映,那么文藝又會很容易陷入唯心主義的誤區(qū)。鑒于此,我們認(rèn)為馬克思文藝學(xué)的三大基本原理是辯證互補(bǔ)的關(guān)系,任何顧此失彼,或揚(yáng)此抑彼的做法都是不可取的。因此文章贊同綜合互補(bǔ)的文藝學(xué)研究方法,即在三者的綜合互補(bǔ)中研究我國當(dāng)前的文藝問題,以此能夠更好地解答和指導(dǎo)我國當(dāng)前的文藝?yán)碚撆c文藝實(shí)踐。
[Abstract]:Marx from the perspective of political economics literature, art and production of two concepts, the art production and material production compared with the method of literary study theory, thus put forward the "art production" theory. In the dialectical relationship between production and consumption, Marx explains the movement rule and process of art production back. After Marx, western literary theorists made further enriched and developed the theory of art production.
With the reform and opening-up, art production theory came into China. The development of the theory of art production in China has experienced three main stages. The first stage, late 1970s to early 80s, is on the theory of art production into the period. In this period, Chinese literary theory in the classic Marx's text reread, found Marx's theory of art production theory, and immediately showed great interest. After that, not only the classic Marx's theory of art production, and the Marx doctrine on the translation of the art production theory has been in the Everfount. This stimulus and trigger, domestic scholars and art production the imbalance between material production problems, a fierce debate on this issue, a time of scholarly articles and some rich emerge in an endless stream. In view of the outcome of the research. The second period is from early 80s to early 90s, is the theory of art production in the period of theoretical framework in China. During this period, Dong Xuewen and other scholars to enrich the connotation of Marx's theory of art production in the classic original system analysis, and try to Marx's production theory of Marx doctrine literary theory is the logical starting point of the construction of the contemporary form. During this period, scholars of art production theory and reflect on the relationship between ideology and theory, produced extensive controversy. The third periods, namely, since 1990s, is the use of the theory of art production in the continuous research in China.20 century at the beginning of 90s, the socialist commodity economy in China the rapid development of the products, the popularity of commercial problems is proposed. Then, the scholars from the combination of theory and practice, try to use art The theory of production answers the numerous and complicated literary and artistic phenomena at home.
Diachronic combing through theory of artistic production Chinese we found that the art production theory in the new period of the rise in domestic development and after all is not a hand Weakness lends wings to rumours. theory itself, is the need of development, on the other hand is the intrinsic need of Chinese literary practice development. It is associated with the process of social history in our country, especially with China's political, economic, cultural and ideological emancipation policy is closely related to the process.
Research on the theory of art production in the new period, we further realize the importance of scientific research methods of literature and arts. Aesthetic reflection theory, the theory of ideology, theory of art production is not only Marx's literary theory of the three major theoretical foundation, is an important method of our research on the issue. The relationship between the dialectical complementarity exists between the three. If you ignore the art of aesthetic reflection, only talk about the theory of art production, will make the art production mix with the general material production; only emphasize the theory of aesthetic reflection but can not see the production effect of art, then our art will be more likely to break away from the social reality of life in the market economy context, eventually transformed into indulge in self-admiration ivory the tower; similarly, if too much emphasis on the aesthetic reflection of ideology and ignore the attribute of literary art, then art will be easily mistaken idealism. Kam From this, we believe that the three basic principle of Marx's literary theory is the dialectical relationship, any complementary or blowing down upon care for this and lose that, this practice is not desirable. So in this paper we propose the comprehensive research methods complementary literature, namely in the three comprehensive complementary research in China when the problem before this, to better explain and guide China's current literature and art practice.

【學(xué)位授予單位】：濟(jì)南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J0

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