presentation I: Ernst Bloch vs Lukacs on Expressionism

一、思想发展背景
1912-1914：早年交往 布洛赫影响卢卡奇对黑格尔的兴趣，卢卡奇介绍给布洛赫克尔凯郭尔。
一战后： 卢卡奇加入匈牙利共产党；布洛赫没有入党，仅仅是同情者。哲学道路也分道扬镳：卢卡奇 - 晚期黑格尔的现实主义；布洛赫 - 叔本华对其回应的非理性倾向。
1933：纳粹掌权，他们都离开德国，布洛赫去布拉格，卢卡奇去莫斯科。
对法西斯主义的胜利怀抱不同的态度：布洛赫 - 试图理解德国小资产阶级真实反抗的因素；卢卡奇：发展人民阵线。其主要内容：保卫启蒙遗产、拒绝非理性主义、把文学的现代主义倾向归于非理性主义、把非理性主义与法西斯主义划等号。
1935：共产国际转向人民阵线策略
1937: 卢卡奇的观点在共产国际中影响力上升
二、为什么表现主义在德国流亡者中引发了如此激烈的讨论？
表现主义，于1906到1920s在德国盛行，跨越绘画、音乐和文学等领域。与两次大战的关系（省略）。之所以重要，是因为它代表了德国意义上的第一波现代艺术。而布洛赫与卢卡奇的争论焦点实质，是对现代主义的历史意义。
三、布洛赫的主要观点和对卢卡奇的反对
卢卡奇根本不关注表现主义的实际运动
表现主义意识形态上反帝国主义，艺术上回应了过渡时期的危机：资产阶级的文化世界正分崩离析，与此同时革命无产阶级仍在襁褓中
表现主义并非精英主义和文化虚无主义，而是反映了一种潜在的人道主义
四、卢卡奇的反驳
he insisted that capitalism formed a unitary whole, and most visibly at precisely those moments of crisis that prompted Bloch to speak of fragmentation.The characteristics of subjectivism of Expressionist art was a denial of this cardinal truth and a repudiation of the objective of all valid art, the faithful reflection of the real. 
表现主义不是人民艺术，民族的进步经验、现实主义才是人民艺术
五、卢卡奇的问题在于：literary history composed an ordered and univocal past whose meaning and value were fixed by the wider history that determined it; the tradition handed down to the present by the ‘progressive’ epochs of the past was a set of compelling norms, a mortmain that literary legatees must honour on pain of disinheritance.
comment：难道这里是在批评卢卡奇遵循一种线性的、进步的、不可改变的历史观？我可以理解卢卡奇的美学是立场和理论先行：资本主义的物化现象 - 资产阶级社会的二律背反 - 无产阶级意识 - 总体性 - 文学应该体现总体性。 这一种观点的优点是连贯性强，理论野心大，缺点是不关注对单个作品的批评。
六、他们的共同点在于人民阵线。但可惜的是，双方最弱的环节也在这一点上。 不管是布洛赫人为赋予表现主义的“popular interests”，还是卢卡奇所提出的”national popular tradition” ，都很牵强附会。至于两位在人民阵线主义中所扮演的角色，也有其复杂性，还可以再作考察。
补充：关于资产阶级的统一如何在危机中表现出来：
Consequently the movement of its individual components towards autonomy is an objective fact of the capitalist economic system. Nevertheless this autonomy constitutes only one part of the overall process. The underlying unity, the totality, all of whose parts are objectively interrelated, manifests itself most strikingly in the fact of crisis. Marx gives the following analysis of the process in which the constituent elements necessarily achieve independence: 'Since they do in fact belong together, the process in which the constituent elements necessarily achieve independence: "Since they do in fact belong together, the process by means of which the complementary parts become independent must inevitably appear violent and destructive. The phenomenon in which their unity, the unity of discrete objects, makes itself felt, is the phenomenon of crisis. The independence assumed by processes which belong together and complement each other is violently destroyed. The crisis thus makes manifest the unity of processes which had become individually independent."
comment: 这一点非常重要，因为它拒斥现代主义“碎片化”的客观性，并谴责其主观性和其unmediated immediacy：分裂的是表象，统一的是本质。
补充：为什么卢卡奇反对自然主义：因为对外部条件的物化到了神话的程度，缺乏中介，没有本质和表象的辩证。而声称自己超越了自然主义，表现了本质的表现主义，只是表现了主观真实，没有呈现客观真实。
补充：蒙太奇与现代艺术、哲学的关系？卢卡奇显然反对蒙太奇，因为碎片的随意拼接并不能反映客观现实。