Breakthrough,Rhetoric And Deformation-Zhu Guangqian’s Academic Adjustment To "Unbalanced Aesthetics"

Zhu Guangqian thinks that the aesthetic research in the 1950s has two unbalanced tendencies.The first imbalance is that western idealist aesthetics simply studies aesthetic problems from the perspective of epistemology,ignoring the perspective of practice.The second imbalance refers to that during the aesthetic discussion period,the aesthetic research issues were narrowed into the essence of beauty,aesthetic activities were simplified into instrumental practice activities based on the material world,and people’s inner emotions and perceptual experience were ignored.This paper attempts to analyze,under the influence of mainstream ideology,Zhu Guangqian in the "seventeen years" period,through philosophical breakthrough,discourse rhetoric and theoretical deformation,while highlighting the aesthetic subjectivity,realize the transformation of Marxist aesthetics,in order to alleviate or even reverse the aesthetic imbalance process.First of all,in order to obtain the legitimacy of the study of aesthetic subjectivity in the mainstream ideology,Zhu Guangqian made a philosophical breakthrough with a lot of work.He not only gained the legitimacy of the study of aesthetic subjectivity,but also emphasized the necessity of the study by generalizing the argument against doctrine,arguing with objective social theory as the mainstream aesthetic view,and breaking out of the constraint of Soviet-style reflection theory aesthetics.Further,he uses the rhetoric of discourse to give literary character to the theory.First,he let the term "beauty is the unity of subjective and objective" wander between the two philosophical frameworks,using the concept of "subjective" to cover the dual orientation of"subjective" and "subject".Secondly,he intentionally identified spiritual production with material production,proposed the idea that "art is a kind of productive labor",placed the communist ideal on the macro level,and stressed the important position of artistic creation and aesthetic subjectivity on the micro level.Thirdly,to inject the "practice" view into aesthetics,and to debate the practical aesthetics of Li Zehou’s "instrumental ontology" with the orientation of "emotional ontology",its goal is not only to debate the issue of beauty,but also to express humanistic care and establish humanitarian aesthetics from a macroscopic perspective by virtue of the humanistic attributes of aesthetics.Under the social background at that time,Zhu Guangqian stuck to his academic ideal.In order not to "ignore" and "lose",he developed a theory which not only adapted to the academic environment at that time but also did not contradict his own academic views.The form of the theory was deformed through the secondary shaping.This deformation can be specifically described in three aspects,namely,theoretical vacancy,theoretical compression,theoretical expansion.The theory gap,namely the concept of "empathy",has not been studied in the aesthetic discussion period,but in the later years of Zhu Guangqian,he again mentioned the psychological concept of "empathy",affirming the research value of this "illusion"Theoretical compression means that Zhu Guangqian believes that aesthetics is human science,which is inseparable from universal humanity,common beauty and humanism.However,in the period of aesthetic discussion,there are only a few relevant studies,and the theoretical achievements are compressed and not fully discussed.Theoretical expansion refers to Zhu Guangqian’s view that "beauty is the unity of subjectivity and objectivity",which emphasizes the subjectivity and production of beauty.Therefore,the concept of "Matter B" contains the connotation of "beauty is in the image".As a "marker" showing the tendency of personal materialism,the concept of "Matter A" is separated from the image and increases the volume of the concept,so it is a kind of theoretical expansion.Generally speaking,during the great discussion of aesthetics in the last century,Zhu Guangqian not only fully clarified the question of how to unify dialectics and materialism on the level of philosophical methodology,but also further promoted the deepening and refining of Marxism in the field of aesthetics.Zhu Guangqian took the Marxist theory as the guiding method and debating tool for the purpose of reversing the imbalance and transforming the scientific rationality.He formed two trends.One is to promote the study of aesthetic subject and lay the foundation of humanistic aesthetics under the guidance of Marxism.Second,it has completed the independent translation and interpretation of Marxism,which is the specific achievement of the Sinicization of Marxism.The research significance of this paper is as follows:first,for Zhu Guangqian’s aesthetic research,it restores the context in the method,and grasp the basic viewpoint of aesthetics historically,so as to discuss and evaluate the history of aesthetics more scientifically.Second,the inspiration of Zhu Guangqian’s theory construction lies in the solid foundation of philosophy,facing the aesthetic activities themselves,and insisting on independent theoretical thinking.