The aesthetic ideological attribute of literature refers to the mutual infiltration between the aesthetic expression process of literature and ideology, which is manifested in the fact that ideology is soaked in aesthetics and subtly conveyed by aesthetics. It is believed that literature has the dual nature of aesthetics and ideology, so the utilitarian, visual and emotional characteristics of aesthetics are often challenged or resisted by the utilitarian, rational and cognitive characteristics of ideology. Aesthetic ideology is a discourse activity interwoven with non-utility and utility, image and reason, emotion and cognition. Therefore, the aesthetic ideology of literature has three characteristics: literature is neither utilitarian nor utilitarian; Literature is both visual and rational; Literature is both perceptual and cognitive.
First of all, from the purpose, literature is not utilitarian.
In literary activities, whether writers or readers, their creation or appreciation has no direct practical purpose and does not seek direct practical interests. There is always some utilitarianism behind the non-utilitarianism of literature. Literature is not directly utilitarian, but it hides some utilitarianism indirectly or internally. Literary activities are the interweaving of non-utility and utility.
In literary activities, no matter creation or appreciation, no matter the author or the reader, there is generally no direct utilitarian purpose at the moment of creation and appreciation. If a writer is describing a beautiful scene, but he is whimsically trying to "occupy" this beautiful scene, then his creation will fail because of this "distraction". A man who is enjoying Othello in the theater will leave the theater angrily because of this consideration if he thinks of his wife's distress of having an affair because of the stimulation of the plot. At the moment of creation and appreciation, we must exclude the consideration of utilitarian gains and losses in order to enter the world of literature. Diderot, a thinker during the French Enlightenment, said: When your friend or lover just died, did you write a mourning poem? No, at this time, whoever plays his poems will be unlucky! Only when the severe pain has passed, the extreme sensitivity of feeling has decreased, and the disaster has been far away, can we control ourselves and make a good article at this time. Diderot means that when a friend or lover has just died, he is full of considerations of gain and loss, and at the same time he has to deal with the actual funeral. At this time, it is most practical and can't be written. Only after distancing himself from the death of a friend or lover can the consideration of utilitarian gains and losses be greatly weakened, and he can arouse his memory, exert his imagination and create. This statement is completely in line with the actual creation. Indeed, only in utilitarian aesthetic activities can we discover the beauty of things, find poems and paintings and enter the world of literature.
Lu Xun said in The Historical Changes of China's Novels: "China people can't appreciate a novel with an appreciation attitude, but dive into the book and try to play a role in it. So young people pretend to be Baoyu and Daiyu when they watch A Dream of Red Mansions. When the old man saw it, he occupied Jia Zheng's status of controlling Baoyu. His mind was full of interests and he could see nothing else. " It means that readers always want to connect their works with their own lives and themselves in the process of reading with practical utilitarian purposes. Without aesthetic distance, readers can't step back and see the beauty of novels.
Literature is not utilitarian, but it is also capable.
Because literature has aesthetic attributes and is also an ideology. The ideology of literature requires that literature should reflect the real social life. Therefore, the utility of literature lies in that literature only regards the non-utility of aesthetics as a special means to realize its utilitarian purpose of reflecting real social life. Guo Moruo once said: "I admit that all arts, though seemingly useless, are of great use." "Seemingly useless" here means that literature is not utilitarian on the surface, and "useful" means utilitarian in essence. Guo Moruo's explanation of "great use" is that literature can "awaken society" and "inspire revolution", that is, awaken and motivate people to participate in the practice of changing the world.
The highest utility of literature lies in that, while literary aesthetic activities exclude direct utilitarian purposes, literary aesthetic activities point to a holistic and fundamental utility, that is, to promote people to reach a complete state of free existence. Writers enjoy their own spirit through creation, while readers enjoy it through reading.
Literature is both utilitarian and utilitarian, and it is the unity of limited utility and highest utility.
Secondly, from the way, the image and rationality of literature.
Image refers to artistic image, that is, a meaningful aesthetic perceptual form presented by the text structure of literature, which is a unique way of existence of literature.
We say that a poem is a good poem and a work is a good work, which gives us aesthetic pleasure, mainly because of the image of the poem or work, and the artistic conception of the poem is like painting in the process of reading.