CAJ | 학술논문

列斐伏尔的《美学概论》多被中国和国际美学界忽略。但是在20世纪40年代末叶该书刊布的特定历史阶段，它的意义不但在于堪称此一时期马克思主义美学的一部代表之作，而且对是时作为马克思主义阵营主导意识形态的“社会主义现实主义”方法有所忤逆。在美学史的回顾中他批驳康德与黑格尔，欣赏柏拉图与狄德罗，即显示出他关注哲学美学与日常生活的理论旨趣。列斐伏尔大力推崇马克思《巴黎手稿》，事实上《手稿》中开始提出的人的全面发展的思想，也成为后来列斐伏尔本人“总体人”理论的直接来源。而列斐伏尔与普列汉诺夫围绕艺术起源与功能定义的分歧，莫若说两人是双管齐下，最终分别从文化的物质和精神层面，解释了艺术与社会生活的关系。
렬비복이적《미학개론》다피중국화국제미학계홀략。단시재20세기40년대말협해서간포적특정역사계단，타적의의불단재우감칭차일시기마극사주의미학적일부대표지작，이차대시시작위마극사주의진영주도의식형태적“사회주의현실주의”방법유소오역。재미학사적회고중타비박강덕여흑격이，흔상백랍도여적덕라，즉현시출타관주철학미학여일상생활적이론지취。렬비복이대력추숭마극사《파려수고》，사실상《수고》중개시제출적인적전면발전적사상，야성위후래렬비복이본인“총체인”이론적직접래원。이렬비복이여보렬한낙부위요예술기원여공능정의적분기，막약설량인시쌍관제하，최종분별종문화적물질화정신층면，해석료예술여사회생활적관계。
Ignored by Chinese and international academic circles, Henri Lefebvre′s Introduction to Aesthetics was not only a representative work in Marxist aestheticism on its publication in the late 1940s, but also contravened "socialist realism", the dominant ideology of the Marxist camp at that time.In his review of the history of aesthetics he criticized Kant and Hegel and eulogized Plato and Diderot, showing his theoretic bent to apply philosophical aesthetics to daily life.Lefebvre lauded Marx′s "Manuscripts of Paris"and the idea of all-round development put forward in this book was to become the immediate inspiration for his theory of the"whole person".His argument with Plekhanov on the origin and functions of art is rather their interpretations of the relationship between art and social life from the perspectives of the material and spiritual aspects of culture respectively.