在坚持和发展马克思主义文艺学、美学时,有一条历史线索是不能忽视的,那就是,除马克思主义经典作家之外,谁在这方面的研究成果最为突出?这就不能不提及两个重要人物,普列汉诺夫和卢卡契。 对他们两人的研究工作,某些评价是相当高的。如弗里契就曾称“普列汉诺夫是建筑马克思主义艺术社会学之基础的人们之一,也就是科学美学的建设者”。鲁迅先生也认为,普列汉诺夫“是用马克思主义的锄锹,掘通了文艺领域的第一个”。至于卢卡契,美国学者梅·所罗门认为,他对美学、文艺学问题的研究,是处在“一个没有被20世纪任何其他马克思主义批评家所超越的水平上”。另一位美国学者巴尔也声称,卢卡契的艺术理论“可与马克思主义的政治经济学理论相媲美。因此我们可以说,卢卡契是‘美学方面的马克思’”。 There is a historical clue that can not be ignored in adhering to and developing Marxist literary studies and aesthetics. Who is the most prominent research subject in this field except the classical Marxist writers? This can not but be said of two VIPs, Plekhanov and Lukacs. Some of the reviews on both of them are quite high. As Freetz once called “Plekhanov, one of the people who built the foundations of Marxist sociology of art, the architect of scientific aesthetics.” Mr. Lu Xun also believes that Plekhanov “used the hoeing spade of Marxism to dig the first field of literature and art.” As for Lukacs, American scholar Mellor Solomon believes that his study of aesthetics and literary studies lies in “a level not surpassed by any other Marxist critics in the 20th century.” Another American scholar Barr also claimed that Lukacs’s art theory "is comparable to Marxist theory of political economy, so we can say that Lukacs is ’aesthetically Marxist.’