从黑格尔到马克思：悲剧美学的实践化

悲剧冲突是现实关系的矛盾对立，而悲剧美学则是呈现这一事实及其美学价值的艺术程序。围绕伦理、种族、荣誉、情欲乃至革命等论题，悲剧美学从古典的直观形式延异至近代的理性主义传统。悲剧及其审美的真理性并非是寓于当下之判断，而是随着精神发展历程逐渐呈现的，换而言之，悲剧美学是一个历史现象，真正考察现实的戏剧方案需要较大的思想深度和自觉的历史内容，亦即实现美学观点和史学观点的契合。黑格尔对悲剧美学的历史主义重释为悲剧的形式补足了历史的内容，为纯粹的审美判断找到了具体的主体，以形式与内容、直观与理性的辩证关系启发了马克思更为彻底的作为历史科学重要环节的美学探索。

From Hegel to Marx: Practicalization of Tragic Aesthetics

Tragic conflict is the contradiction of realistic relation, and tragic aesthetics is the artistic procedure of presenting this fact and its aesthetic value. Centering on such topics as ethics, race, honor, passion and revolution, tragic aesthetics extends from the classical intuitive form to the modern rationalism tradition. Tragedy and its aesthetic truth do not reside in the judgment of the present, but gradually appear along with the spiritual development process. In other words, tragedy aesthetics is a historical phenomenon, and a serious study of the reality of drama scheme requires greater depth of thought and conscious historical content, that is, to realize the agreement of aesthetic views and historical views. Hegel's reinterpretation of the historicism of tragic aesthetics as the form of tragedy complements the content of history and finds a concrete subject for pure aesthetic judgment. The dialectical relationship between form and content, intuition and rationality inspires Marx to explore aesthetics more thoroughly as an important link of historical science.