【摘要】 针对阿多诺的"奥斯维辛之后"诗学命题,马尔库塞提出并形成了自己的"奥斯维辛之后"诗学思想。在文化批判维度,马尔库塞分析了奥斯维辛之后,西方资本主义社会日益强化的肯定文化所导致的艺术危机。对于艺术应该如何表现以奥斯维辛大屠杀为代表的法西斯主义恐怖,马尔库塞探讨了艺术创作的不同路径。在奥斯维辛之后如何铭记历史的问题上,马尔库塞强调通过文学记忆,不仅要让人们承担起不忘历史的主体责任,而且应当揭示和追究那些策划、执行、配合大屠杀者的主体责任。马尔库塞的"奥斯维辛之后"诗学思想,有助于人们更全面地理解艺术与奥斯维辛之间的关系。更多还原

【Abstract】 Aiming at Theodor W. Adorno’s poetic proposition of “after-Auschwitz”, Herbert Marcuse put forward his own version of the poetic thought. Marcuse analyzed from the perspective of cultural critique the art crisis resulted from the affirmative culture which had been increasingly strengthened in the Western capitalist society in the “after Auschwitz” age. Marcuse examined the different approaches to artistic creation in its response to the fascist horror represented by the Auschwitz Holocaust. On the issue of how to remember history after Auschwitz, Marcuse emphasized that literary memory might instill into the people the subject responsibility of not forgetting history and of exposing those who planned, executed and cooperated with the evil-doers in the Holocaust. Marcuse’s poetic thought of “after-Auschwitz” deepens our understanding of the relationship between art and Auschwitz.更多还原