【作者】 彭水香；

【导师】 代迅；

【作者基本信息】 西南大学 ， 美学， 2012， 博士

【摘要】 分析哲学诞生于欧洲,却在美国这片原本以实用主义哲学为基础的土地上开花结果,以分析哲学的方法进行美学研究的流派,即分析美学,成为美国的主流学派；二战后,美学研究的地域中心实现了从欧洲大陆到美洲、从德国到美国的大转移,从此美国成为西方美学研究的地域中心；美国美学协会及其主办刊物《美学与艺术批评杂志》(为简便起见,下文以简称《杂志》代替《美学与艺术批评杂志》全名)的相继诞生,对美国美学发展产生了重要影响。分析美学在美国不仅发展成为相对独立的美学形态,而且产生了世界性影响。追根溯源,美国分析美学的形成、发展、演变都离不开以下三个因素的相互作用。首先,从思想资源来说,美国分析美学除了受到分析哲学思想的影响,也受到美国本土的实用主义哲学的影响。其次,从方法论层面看,分析哲学的方法论属于分析美学至关重要的组成部分,构成了分析美学的主要支柱,为分析美学对传统美学的批判、自身的理论建构以及后来的发展确立了理论根据。第三,美国美学协会成为美国美学学科体制化的代表,该学会主办刊物《杂志》成为美国美学的权威刊物,《杂志》不仅见证了分析美学发展为美国主流美学的历程,同时引领着美国美学学科的发展。美国美学协会与《美学与艺术批评杂志》是美国美学体制化的核心要素,以这个核心要素为支撑,以分析哲学与实用主义的思想资源依托,以及美国分析美学基于客观艺术实践,以清除传统的形而上学为契机,以艺术实践的剧烈变革为中心,美国美学研究掀起了一场理论革命,反本质主义与本质主义、艺术可否定义的讨论成为美国当代分析美学的核心命题。在艺术的急剧变革中,解决艺术哲学中的一系列重大课题成为美国分析美学的紧迫任务,作为美国美学体制化代表的《杂志》与美国美学协会,在美学研究的方法论以及学科发展所发挥的主导作用变得越来越重要。本文以丰富的第一手英文文献为依托,以《杂志》为窗口,以艺术定义为线索,探索美国分析美学的历史发展和未来走向。自20世纪20年代的达达主义运动以来,先锋派艺术的打破了传统上艺术仅靠“好眼力”就能解决的艺术鉴赏与艺术批评问题。艺术世界的变化改造了艺术认知的方式,艺术世界的复杂性使传统美学理论变得无所适从。以先锋派艺术为代表的当代艺术提出了深刻的哲学问题。“艺术必须具有审美特质吗?”“艺术是什么?”“艺术如何辨别?”“艺术理论在辨别艺术中起到什么作用?”“对艺术作品的解读和艺术批评的意义何在?”追问并解答这些问题变得必要而紧迫。其中,“艺术是什么?”既是哲学必须解决的紧迫问题,也是艺术理论回应当代艺术实践时必须解答的根本问题。美国分析美学发起了针对传统本质论的一场革命,这标志着一种新思潮的崛起,也是一种逻辑与知识形态的演变。昔日的普遍主义淡出了人们的视野,反本质主义思潮从此登上了美学发展的历史舞台。但是,在反本质主义的消解与解构中,美学陷入了无方向感、无确定性的深渊之中。于是,艺术定义走出一轮困境后,又陷入新一轮的困境之中。维兹(Morris Weitz)、肯尼克(William E. Kennick)、齐夫(Paul Ziff)等反本质主义者主要以维特根斯坦的“语言游戏”、“家族相似性”、“生活形式”以及“艺术开放性”等为由,反对任何本质、反对充分必要条件的定义,以取消主义的态度对待美学,以古德曼为代表的反本质主义多元论者主张世界构造的认知论,陷入了一种相对主义和毫无确定性的泥潭。艺术实践内部的重大变化和人们对艺术的各种需要,亟待艺术理论对纷繁复杂的艺术作品做出明确的解释,重新对艺术的界定做出尝试,为人们找到一个支点,走出理论困境。这意味着在新的历史阶段,美学与艺术哲学迫切地需要从新的层面回应“艺术的本质是什么?”“如何区分艺术与非艺术?”“艺术是否需要一个本质性定义”等一系列核心话题,艺术理论的本质主义走向又一次成为理论的焦点。美国分析美学历经清除传统的形而上学的过程,亦即反本质主义过程之后,本质主义于20世纪后期开始复活。分析美学的批判不仅仅停留在对传统本质论的批判,而是随着艺术实践发展的需要而不断改变自身的研究对象。比尔兹利始终坚守着审美本质主义艺术理论,竭力排斥美学的心理学化、社会学化,乃至道德化、政治化、或宗教化,坚决捍卫着艺术或审美的自主性以及艺术的价值,捍卫艺术的审美价值,捍卫审美作为艺术批评的准则的基本定位。在有关艺术批评原则的争论中,他始终站在坚持审美原则的立场上。丹托对分析的艺术哲学的贡献,在于他敏锐地洞察到了当代艺术与传统艺术的本质差异,从艺术史的视角探索艺术的非显性特征,展开自己的艺术本质论,融历史主义与本质主义于一体。新一轮的艺术定义论有着不同于传统美学艺术定义的内容。除了丹托的历史主义艺术理论、迪基的艺术制度论,还有美学家从社会和文化实践的视角定义艺术,主要体现为新本质主义定义。新本质主义艺术定义主要是程序主义的路向,典型地体现为历史主义、制度主义的本质主义。超越传统的主观思辨的普遍本质主义,尊重真理的历史、社会、文化等实践性,重新审视“存在与本质”的关系,乃是探索本质主义嬗变引发的艺术哲学思潮及其与当代审美知识形态的关系的主旨所在。后期分析哲学突出地表现为从新本质主义出发,引导艺术哲学从艺术制度、文化实践、历史叙事等多维度、多层面探索美学的主流思潮,突破了传统上以艺术的“显性”特质和自主自律性为宗旨构建宏大理论体系的本体论路向,成为关切特定历史阶段艺术的开创性艺术理论。但不可否认的是,新的艺术理论也难逃更多的批判和指责,存在着显著的局限性,艺术评价与艺术辨别的矛盾成为艺术理论难以协调的症结。比尔兹利过分强调艺术作品提供审美经验的功能,却忽视或排斥其他方面的功能和价值。一方面,它不能令人信服地解释当代艺术问题,使得理论超脱于现行的政治、经济、道德、文化；另一方面,传统的艺术定义也难以用来辨别当代艺术,与当代艺术实践产生了难以调和的矛盾。而对于以丹托、迪基为代表的新本质主义,其局限性主要是：它是否是一个本质主义定义本身就成为一个有争议的问题,美学家与艺术批评家对此众说纷纭；艺术界并没有充分体制化,艺术理论不具有赋予某物以艺术品地位的作用和权威；艺术制度论从描述意义上定义,忽视艺术定义的评价意义,过分突出了艺术界作为立法团体所发挥的作用。半个多世纪以来,美国分析美学从对形而上学的连根拔起的革命到急流勇进的自我批判,不断修正和丰富自己的理论。事实上,它并没有像许多学者所宣判的那样走向了衰竭或死亡,终结的只是一种特定的理论形态,更重要的是它走向了另一种理论形态。每一次美学形态的转换,都建立在对已有理论形态的批判与反思的基础之上。分析美学一次次超越既有的美学,又一次次超越自己,其中的困惑、质疑与论争,无不显出与时俱进的进取精神与自我批判态度。一方面,分析美学已经取得了主导地位,对美学发展产生了深远的影响；另一方面,由于分析美学的思想已经成功浸润其他的思想流派,尽管它逐渐失去了以往的批判锋芒,但却体现出了更多的包容性和更强大的解释力。以哲学的分析方法对美与艺术进行研究、以生活形式可能性范围为研究取向的分析美学,将更好地服务于我们对艺术的理解,美学研究也将拥有更加广阔的思维空间与发展前景。分析美学从艺术制度、文化实践、认知科学、历史叙事、日常生活等多方面探索艺术潮流,发展了与当代艺术变革相适应的艺术理论。艺术与生活形式成为分析美学取之不竭的活水源头。突破本质主义的窠臼,寻求艺术与生活的相互推动和互动发展,成为分析美学艺术定义的趋势。其中,艺术理论的实用主义化、艺术定义的场域化等成为多元化时代艺术定义的凝聚点。更多还原

【Abstract】 Analytical philosophy was born in Europe, but it blosoms in the United States where the native pragmatist philosophy was originally dominating. Analytic aesthetics, which employs the methodology of analytic philosophy, became the mainstream school. Since Alexander Gottliel Baumgarten the subject Aesthetica, for nearly200years, Germany has been the regional center of aesthetic study. However, since the Second World War, the regional center has transfered from continental Europe to America, from Germany to the United States. From the start, American aesthetics has been almost solely represented by the American Society of Aesthetics (ASA refers to its shortform) and its "official organ" the journal of aesthetics and art criticism (JAAC refers to its shortform). In American aesthetics, analytic aesthetics has become not only a relatively independent branch, but also one that has great impact globally on the aesthetic field.Actually, the formation, development and evolution of American analytic aesthetics can be attributed to the inseparable interaction of the following three factors. First of all, from the perspective of the thought resources, it has intergrated both analytical philosophyand the local pragmatism philosophy. Second, in methodological perspectives, the methodology of the analytical philosophy constitutes the backbone of aesthetic analysis, which becomes a critical part of its getting rid of the metaphysics of traditional aesthetics, its theoretical construction and its future development. Third, as the Society and the Journal became the authority of the subject’s institutionalization, American aesthetics has become increasingly the exclusive property of philosophers, largely taken over in the mainstream by philosophers working within what is commonly called the Anglo-American tradition. JAAC not only witnesses the progress of analytic aesthetic to be the mainstream American aesthetics but also leads the development of aesthetics, both in themes and concerns. Based on analytical and pragmatical philosophy thought resources, analytic methodology and the representing journal, analytic aesthetics lauched a campaign for cleaning traditional metaphysics, gave rise to a revolution of the aesthetic theory in terms of anti-essentialism, neo-essentialism and pluralism, in which, the discussion of the definition of art has been the central concern to the central problem "what is art?", providing a comprehensive, very wide, important domain of aesthetic and philosophial problem.In the radical change of art practics, the urgent task aesthetics of the mainstream American aesthetics-analysis is to solve a series of problems in the philosophy of art. As the representative of the aesthetic institutionalizing, JAAC and ASA played a more and more important leading role in methodology, theme and concerns for the development of the discipline. Since JAAC and ASA represents the institutionalization of American aesthetics, and analytic aesthetics is its mainstream, this dissertation starts with the magazine as a window to explore the main course of the development and future trends of analytic aesthetics, mainly taking the definitions of art associated with the core question "what is art?" as clues.Since the Dadaist movement in the1920s, the rages of avant-garde art broke the rules that traditionally art appreciation and art criticism can be solve with a "good eye". The great change of the art world has turned the tide, and unprecedentedly changed cognitive way of the art, which needs a new perspective of epistemology and methodology in the philosophical level. The complexity of the art world makes the traditional aesthetic theory disoriented. As a representative of the contemporary art, the avant-garde art gave rise to the profound philosophical problems."Is art necessary to possess aesthetic qualities?""What is art?""How to identify art works from other object?""What role does art theory play for identifying art?""What’s the point for and interpretation of art and art criticism?" Pursuing and answering these questions become necessary and urgent. Among them,"what is art?" is the essential pressing problems. Based on an objective analysis of art practice, analytic aesthetics launched a revolution, taking removing the traditional metaphysics as an opportunity, which marks a new ideological trend, along with kind of the evolution of logic and of knowledge form, the former universalism fading out of people’s perspective, anti-essentialist trends steped onto the stage of the history of aesthetics. However, with anti-essentialist dispelling and deconstruction, aesthetics is trapped in a sense of disorientation and uncertainty. That is, the definition of art involved in another round of a dilemma after out of one predicament.Anti-essentialists like William Kennick, Weitz and Ziff mainly accepted "language games","family resemblance","form of life" and "open concept of art" rooted in Wittgenstein’s philosophical thoughts to oppose any theory of the essentialism, against the necessary and sufficient conditions for the definition, which is undoubtedly a canceling attitude to aesthetics. Nelson Goodman, as a representative of the anti-essentialism pluralists, claims epistemology of worldmaking, falling into a trap of relativism and no certainty. The great internal changes in art practice and people’s need concerning art press for art theory to explain the complexity of the art works, to try to define art in a new way, for anchoring their belief, values, the knowledge conversion. This may mean that in the new historical stage, aesthetics and the philosophy of art urgently need a new perspective in response to the above questions. Therefore, a new essentialism approach to the nature of art theory is on its way.It is the main concern to go beyond the traditional metaphysical essentialism, follow the real historical, social and cultural characteristics of arts in practice. The later analytic aesthetics primarily took its trace in a neo-essentialist approach to guide the definitions of art, which stick to the non-exhibited properties beyong the traditional "exhibited" ones. However, the essentialist approach still cannot avoid critisim. With rejection of traps in psychology, sociology, politics or religion, Beardsley determined to defend the autonomy of art or aesthetic and artistic value, defend the aesthetic value of art, defend art aesthetic principles as criteria of the basic position. He devoted into the aesthetic definition of art. Danto did his contribution in his keen insight into the combination of historicism and essentialism in the contemporary art. In addition to Danto’s historical art theory, dickie posed institutional art theory, to define arts from the social and cultural practice. This new round of art definitions has a different perspective from the traditional one. It is mainly embodied in the neo-essentialist definition, which featured procedural definitions. It’s obvious that Beardsly paid too much emphasis on the aesthetic experience of art works, the functional aspect of arts, but neglects or rejects the functions and values of arts in the other aspects. What’s more, it can’t be a convincing explanation of the contemporary art for excluding the avante-arts. For Danto, dickie, representative of the neo-essentialism, its limitations are clear in the following major aspect:firstly, it’s quite controversial whether it’s an essentialist definition; The art world is not adequately institutionalized, which has awarded authority to declare items the function and position to art; the institutional theory is confined to the descriptive significance of art while neglecting art definition as the function of evaluation over emphasize legislative roles of the art.For more than half a century, the American domestic and foreign scholars, undergo enormous explorations, from uprooting the metaphysics to radical self-criticalness, to correct and enrich their theory. In fact, analytic aesthetic is not doomed to failure or death like what many scholars claimed. What ends is just some specific forms, and more importantly, it transformed into another form. Each time the aesthetic form of conversion is based on criticism reflection of existing aesthetic shape. Analytic aesthetic transcends the formed aesthetics, and also surmounts itself, in which confusion, debate and questioning, all show that contemporary American analytic aesthetics advances with the times, with self critical spirit and enterprising spirit without exception. On one hand, the analytic aesthetic has achieved the leading position, with great impact on the development of aesthetics; On the other hand, since the analytic aesthetics have successfully infiltrated other genres, despite gradually losing its inherent criticalness, it reflects its more inclusive and more powerful explanatory capacity. With the analytic approach to beauty and arts and the life form as the research orientation in the wide range of its possibility, analytic aesthetics will better serve our understanding of art and aesthetics, which will also have more extensive space and prospects.The main trend of the analytic aesthetics is to explore the artistic aesthetics system multidimensionally from cultural practice, cognitive science, historical narration, daily life and so on for the sake of the persistent concerns in particular stages of art theory. Art and life form become inexhaustible source of living water of analysis aesthetics. Breaking through the essentialist set patterns, seeking art and life’s push in the form of interactive development, become the main trend of definitions of arts in analytic aesthetics. Among them, the art theory of pragmatism, from defining art to defining individual arts, the artistic field gain the rallying point in this multicultural era of art.更多还原