كليدواژه :
هنر آوانگارد , زيبايي شناسي ماشين , نظريه ماركس , سرمايه داري , پرولتاريا
چكيده فارسي :
آراءِ ماركس و خوانش هاي صورت گرفته از آن در جريان انقلاب 1917 ، در گشودن درهاي هنر روسيه به سوي ماشين مؤثر
بودند. ساختار هنر آوانگارد روس كه همزمان با جنبش هاي انقلاب كمونيستي 1905 بود، از فلسفة عملي ماركس نشأت
مي گرفت. در همين راستا بود كه مكاتبي چون فوتوريسم روسي، كانستراكتيويسم و پروداكتيويسم پاگرفتند كه حضور
عناصر ماشيني در وجوه مختلف آنها از ويژگي هاي مشتركشان است. اين عناصر كه به نحوي بازنماياننده عصر سيستم هاي
غول آساي خودكار هستند، توجه ماركس را نيز در نگارش فلسفه اجتماعي بسيار به خود معطوف داشته بود. اكنون اين
پرسش مطرح مي شود كه چگونه مي توان به تبيين زيبايي شناسي ماشين در هنر آوانگارد روس بر پاية آراءِ ماركس پرداخت.
فرضيه غالب در اين پژوهش مبتني است بر در نظر داشتن انقلاب كمونيستي-ماركسيستي پرولتارياي روسيه به عنوان
يكي از مهم ترين سرچشم ههاي ورود ماشين به عرصة هنر و ظهور مؤلفه هاي جديد زيبايي شناسي. در اين جستار با در نظر
داشتن آثار هنري آوانگاردهاي روس و نوشت ههاي به جا مانده از آنها، روشن خواهد شد كه مؤلفه هاي زيبايي شناسانة ماشين
در هنر آوانگارد روس بر پاية نظريات ماركس مبني بر شكست انحصار ماشين در دستان سرمايه، آگاهي پرولتاريا از وضع
موجود، به چالش كشيدن طبقة حاكم، خروج پرولتاريا از حالتي منفعلانه در برابر سرمايه داري و همچنين لزوم پيشبرد
جامعة كمونيستي، استوار است.
چكيده لاتين :
The main issue of this paper is to find the theoretical foundations of the presence of Machine in the works
of Russian Avant-garde artists, or to provide an explanation for the Machine aesthetics; this will be
carried out by tracing those foundations in the ideas of Karl Marx. During the 1917 revolution, Marx’s
ideas were effective in opening Russian art’s doors toward the Machine. According to the hypothesis of
this study, the Avant-garde artists chose different ways to express their ideology to be in step with the
revolution; thus the application of the Machine and displaying its features, was one of the most prominent
characteristics of their works. It was in the same direction that certain artistic schools such as Russian
Futurism, Constructivism, and Productivism Emerged, and the presence of Machine elements was their
common feature. These elements that somehow represented the era of giant automatic systems highly
attracted Marx’s attention in writing his social philosophy. Thus, the Russian Avant-garde art’s structure,
has its origin in Marx’s practical philosophy. The question is how these Russian Avant-garde artists,
saw themselves along with the revolutionaries and in the same line with the workers. In this context, and
considering the existing documents and evidences, it will be clear that one of the key components of the
emergence of the Machine into the realm of art was the annihilation of the social contradictions intended
by Marx, namely, the contrast between the progress of science and the human welfare that should have
been brought by it, and the difficult conditions which the masses were actually struggling with. The artists
believed that in this manner, the Machine was no longer in the hands of Capitalists exclusively; instead, by
fitting in the comprehensive realm of art, it could have belonged to the individuals. Breaking with tradition,
and what Marx had recommended for raising the level of the proletariat’s consciousness are among other
key components. According to Marx, this could accelerate criticizing the existing situation, by expanding
creativity and the spirit of inquiry toward a dynamic critical culture. The last component is to display
the nature and manner of production, after the revolution; it aims to create the construction flow, and to
encourage the proletariat to strengthen their society and to progress it through industrial development
