华东师范大学学报(哲学社会科学版) ›› 2004, Vol. 36 ›› Issue (2): 70-76+122.doi: 10.16382/j.cnki.1000-5579.2004.02.011

• 文艺学研究 • 上一篇    下一篇

布洛赫“希望美学”的内在结构

王峰   

  • 收稿日期:2003-09-15 出版日期:2004-03-25 发布日期:2004-02-25
  • 作者简介:王峰(1971-)，男，辽宁锦西人，华东师范大学中文系讲师，文学博士

The Inner Construction of Bloch's "Hope Aesthetics"

Feng WANG   

  • Received:2003-09-15 Online:2004-03-25 Published:2004-02-25

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被引次数

7

摘要：

布洛赫“希望美学”的内在结构由两个部分构成, 一是本能心理层面上的渴望, 二是乌托邦层面上的期望。从时间性的角度来说, 希望蕴涵着面向未来的敞开。布洛赫揭示本能层面上的未来维度, 是为了从人的本性方面挖掘出乌托邦的内在的、必然的趋向, 获得一个基本的出发点。乌托邦层面上的未来维度则包含着人的一切可能性。艺术是联结现时和未来的中介, 是期望的具体功能。期望的实行需要一种进取的乐观主义立场, 而在期望充实的中途, 注意力不断变更着前进的方向。

关键词: 期望, 尚未, 可能性, 充实

Abstract:

There are two aspects in the inner construction of Bloch's "hope aesthetics". One is a wish at the level of inner instinct, and the other an anticipation at the level of utopia. The hope, viewed from temporality, is a utopia that is open to the future. Futurity, on the level of inner instinct, is a basic starting point to discover the inherent and inevitable tendency of utopia from an angle of human nature. Art is a bridge between present and future, and a specific function of anticipation. The realization of anticipation needs an enterprising and optimistic position. In the process of its fullness, attention tends to constantly change its forging orientation.

Key words: anticipation, not-yet, possibility, fullness

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