后形而上学与美学

【作者】 赵周宽；

【导师】 尤西林；

【作者基本信息】 陕西师范大学 ， 文艺学， 2011， 博士

【摘要】 本研究试图立足形而上学存在本体论,探讨美学的可能性。“可能性”问题框架决定了,美学既不是一个僵化体系的残骸,也不是彻底的“无”。在形而上学存在本体论基础上自我生长着的美学,介于这两者之间。形而上学给美学提供了在这两者之间不断往复并激活这一“中间地带”思想张力的潜能。但如果对形而上学做“形而上”(抽象、僵化)的理解,以上的构想就根本不可能付诸实施。“后形而上学”破除了对形而上学所做的“形而上”的理解,将形而上学视为西方思想无限自反、一再回归自身根基之批判性的标示；而“后形而上学”恰恰是对这一标示之“标示性”的自觉。这样,以“后形而上学”对西方思想所做的自我认识、自我反思和自我教育,为美学可能性问题提供了本体论保障。在本体论基础之上伸展开来的美学学科,并不能彻底将形而上学的思想“债务”一笔勾销。美学在对这笔债务的承认和担当中进行着自我建构。这门学科的自我建构过程,也是承继了形而上学传统的现代性所进行的自我辩白。美学的自我生长,作为现代性的标志性事件,在这种“建构”和“辩白”中,将形而上学的债务以“后形而上学”的方式予以重述。这些债务包括,第一,对整全世界的追求和这一追求的辩证表达。形而上学所预设的非中介的整体世界,美学以对“感性”、“美”、“自由”等所做的辩证表达,赋予其现代性的血肉。第二,近代认识论所提供的理论言说框架,仍然是美学自我表达的基本语法。任何试图把“二元对立”的思维方式不仅从存在层面、而且从表述层面轻率抛弃的理论,都忽视了美学自我建构的复杂性。第三,形而上学的超越性设定(理式、存在、上帝、主体、语言等等),从“形式化”的外在先天设定,转换为内在精神之“魂”。在“形而上学”已经不具有社会机体凝聚力和意义构型力的现代性中,辩证地表达这种精神性追求,具有为现代性“招魂”的意义。以上“债务”并非仅仅具有消极意义,在建构现代世界方面,它们同样会转化为积极因素。要想实现这种转化,就需要深入形而上学自我批判的内在史中,完整而本质地经历形而上学自啮其心的艰难历程,经受这一历程中重重辩证法的折磨。本研究在海德格尔和尼采的形而上学批判程序中经受了这一过程。尼采对形而上学毒害史作出系统诊断,并以“生命”为号召,呼吁对西方思想进行根本性疗救。在疗救的极端处境中,尼采清醒地意识到这一疗救本身的“形而上学性”。疗救的强烈愿望和疗救自身的毒害性,两厢对照,使尼采自陷绝境。尼采被逼到思想的边缘,也将形而上学带到边缘。这一边缘站位,正是“形而上学”自反性的极端呈露。“生命”成为尼采用以警惕任何一种形而上学迷误的醒目灯塔。尼采以“凡有生命之处,就有美”作为生命美学的总纲。由于“生命”时刻提醒对形而上学的迷误的警惕,生命美学就成为形而上学极端可能性的标示,生命美学也成为对于形而上学极端可能性的“经受”。海德格尔以“存在”和“存在者”之间的“存在论差异”激活了形而上学中内蕴的自反性。在有可能掉入“无”的“存在”,与定形化的“存在者”之间,用“真理”和“艺术”作诱饵,诱使我们进入美学得以萌生的本体论领域之中。在形而上学自我批判的历史中,海德格尔确认了古希腊意义上的本质性的“美”与现代科学意义上的“美学”的弹性对峙,即,正是在本质性的“美”不再可能的现代性中,“美学”科学诞生了；“美学”既是对本真“美”的回应和保存,又是对它的“遮蔽”和“遗忘”。海德格尔将这一遗忘过程与形而上学对“存在”的“遗忘”作了互文性阐发,提示了回归本真美的可能性,要求我们至少对这一“遗忘”本身不再遗忘。这样,海德格尔的美学就是形而上学自反性即“后形而上学”的映照。“存在论差异”既是对形而上学自反本质的揭发和呈现,也是对美学自我生长之可能性的本质确认。海德格尔以形而上学自我嬗递的历史为背景进行的美学发生学探源,天然具有现代性批判的意义。通过对海德格尔和尼采的形而上学极端可能性的“经受”,在形而上学存在本体论基础上阐发的“美学发生学”,与以鲍姆伽登为标志和开山者的“美学发生学”,形成呼应。参照后一种美学发生学,前一种发生学可以看作是美学的“内史”和“前史”。作为“前史”的“美学发生学”,自觉地与任何一种僵化的美学体系保持距离。把美学保持在“前史”状态中,是一项本质而艰辛的思想任务。更多还原

【Abstract】 This study attempts to explore the possibility of Aesthetics on the ontological basic of Western metaphysics.The question pattern of "possibility" determines, Aesthetics is neither an ossified system nor a thorough "no". It is, on the contrary, an self-developed organism which is somewhere betwixt and between. Metaphysics energizes Aesthetics to move back and forth in between, and in turn, activate western thought as a whole. "Post-metaphysics" eradicate the rigid understanding of metaphysics by interpreting it as a sign of the reflextive western thought, and by means of that, open the possibility of Aesthetics. "Post-metaphysics", as the self-awareness, self-reflection and self education of the western thought, give birth to Aesthetics on the ontological basic.Stretching and developing on the ontological basic of metaphysics, Aesthetics inherits and bears the encumbrances of metaphysics. The Constructing process of Aesthetics is itself a defence of "modernity", which is the lineal heir to metaphysical traditional, and the symbolic event of modernity. In the Constructing and defence process, arguments and encumbrances of metaphysics are reiterated in changed ways. The main reiteration includes:firstly, the pursuit of entirety and the externalization of the pursuit. The immediate entirety of metaphysics is refreshed by "aesthesis", "beauty" and "freedom" in the modern world. Secondly, the modern epistemological frame is still the basic grammer of the externalization of Aesthetics. Binary opposition cannot be abandoned perfunctorily, at least on the externalization and expression level. Thirdly, the transcendental configurations (Idea, Sein, God, Subject, Language, etc.) have been transformed from formal stipulations to the essence of western thought. In modernity, when the social cohesion collapsed, and the formative function of significance failed, Aesthetics functions as a spiritualism in the modern world. The encumbrances of metaphysics are not only debts, they can also play as the Resources and odds in the Constructing process of Aesthetics. To accomplish the transform from debts to odds, It is necessary to withstand the Theoretical Torments and pains in the process of the metaphysical reflections. The study carries on along with the process of withstanding. Nietzsche probes the history of metaphysical infection, and diagnoses the western in the name of "life" and for life’s sake. He appeals to treatment. In the extreme circumstance of treatment, Nietzsche acknowledges the metaphysical trait of the treatment itself. By admitting the metaphysical trait of his treatment, Nietzsche is forced by himself to the edge of thought. Standing on the edge of thought, Nietzsche also carries forward the metaphysics to its own edge. The edge is the very exposure of the self-reflection of metaphysics. "Life" is the lighthouse settled by Nietzsche to avoid any kind of metaphysics. "Where there is life, there is beauty", is the basic creed of Nietzsche’s Aesthetics. Nietzsche’s "life Aesthetics" is thus the symbol of the possibility of metaphysics and the withstanding of it as well.Heidegger activates the intrinsic reflection of metaphysics with the "ontological discrepancy" between "Sein" and "Das Seiende", and induces us to the ontological basic which is between "nothingness" and ossified "Das Seiende" by "truth" and "Arts". Heidegger confirms the confrontation of Greek "beauty" and the modern Aesthetics in the history of Metaphysics. It is just at he modern time, when the Greek "beauty" is impossible, the modern Aesthetics comes into being; Aesthetics is response and preservation of "beauty", as well as the block and forgetting of the latter. The forgetting of "Das Seiende" and that of Greek "beauty" explain each other. Heidegger explores the possibility of Aesthetics, and appeals us to keep the "ontological discrepancy" in mind, or at least not forget the "forgetting" itself. Thereafter, Heidegger’s Aesthetics mirrors the self-reflection of Metaphysics. Heidegger’s exploration of the possibility of Aesthetics, is intrinsically a critique of modernity.By withstanding the extremely possibility of metaphysics, a covert history of the birth of Aesthetics is revealed. The genetic study of Aesthetics, which begins with Baumgarten, is different and mirrors that which is based on the self-awareness of metaphysics. linked and different from the former, the latter could be regarded as the "inner history" or "pre-history" of Aesthetics. The "pre-history" of Aesthetics is conscientious of its distance from any rigid system. To maintain Aesthetics in the "pre-history" situation, is a tough and tasking mission of thought.更多还原