审美批判与理性重建

【作者】 施立峻；

【导师】 吴炫；

【作者基本信息】 华东师范大学 ， 文艺学， 2004， 博士

【摘要】 自从笛卡尔将“我思故我在”设定为哲学的基本原则以来，思维与存在的二元对立结构就不可避免地成为传统理论的基本逻辑结构。存在于历史事件中的主体的思想观念与隐遁于事件背后的必然性之间存在着不可逾越的分裂。而在认识论中，这种二元对立又进一步表现为主动性与被动性之间、感觉与知觉之间的对立与分裂。在由此构成的复杂的总体性中，人们无法具体详细区分什么是属于无意识的自然的东西，什么是属于人的社会活动。在批判理论看来，由传统理论所导致的结果是人们无法明确地判断正身处于其中的现实社会的真实状况。批判理论的意图在于打破黑格尔仅仅把“反思”作为通向“绝对知识”的一个“中介环节”的设定，而真正使社会批判成为理论主导。霍克海默和阿多诺对启蒙理性范式的批判延续着审美现代性对启蒙现代性的抗争，马尔库塞坚定地将审美的崭新形式看作是想象的、可能的、梦幻的世界，艺术的审美形式保存并提供着真理性抉择的记忆和意向。是具有进步意义的人类形式。法兰克福学派的美学阐述虽然与浪漫美学的历史延续有关，但是，它的最终指向并非艺术本身，感性解放的目的同时在于对社会现实的变革。为了达到社会变革的目的，法兰克福学派的批判美学在审美的实践过程与社会的批判立场之间找到了最具直接性的关联。现代的原则乃是主体性。主体性原则既说明了现代世界的优越性，也说明了现代世界的危机。它揭示了现代乃是进步与异化同步的世界。因此，有关现代的最初探讨即已包含着对现代的批判。由于批判美学将自然规则从属于自我反思的工作，所以，在批判美学的自我认识的轨迹中抹除了在外在“逻各斯”前提下的必然性规则。它的工作就是对现行社会进行批判性的理论分析，而它的目标，用霍克海默的话来说，就是“建立合理的生活形式”。这决定了批判理论在根本上更加强调关注社会的合理性。 在这种理论的社会实践过程中，批判理论从传统理论中分解出来并试图加以重新建设的理论基础在实际的过程中却发生了很大的变化，即一种理论的基础性重新建设被一种更加切实可行的社会实践的渴望所代替。这形成了批判理论自我纠缠的矛盾处境，即将个体的确定性放置于充满矛盾的变化社会中去考察揭示了批判思想的个体实践的实际意义。一旦法兰克福学派的思想家们从异化劳动的概念入手，去分析科学技术在现代社会生产中的实际效用时，生产过程就必然会以对生产者加以剥夺的匿名的本质力量的阴暗形式出现。这个问题几乎就是与对这一问题的设定同时出现的。在一个被异化的哲学术语所充分描述的社会中，知识与实践的分离所形成的确定框架已经将具有古典主义情结的人的理想分离为破碎的欲望肢体，在本质上呈现为一种结构性的破碎。对个体加以批判性地确定就意味着将人从已然分离的社会结构中解放出来，并赋予他重新改造整个社会的使命。这样一来，所有解释的逻辑过程都被推向了历史领域，问题也同时在这里出现:不仅生存的物质条件不仅无法再生出具有整体创生意义的实在世界，而且，就感官的日常生活态度而言也无法具备从古典审美的固有原则中抽取灵魂养料来培育超越精神建构意义的所有文明。在批判美学这里，艺术的形式概念是一个体现出顽强的现实意识的动力概念。艺术形式的自足性也就是在穿越困境的沼泽过程中开始逐渐呈现出了各自不同的形式特征的。艺术创造的世界以在正常情况下被否定的甚至是前所未闻的真理的名义，来抗拒并粉碎既定的现实。所有现实的逻辑在这种新形式的逻辑中全部沦为被否定的对象。在这种主导性的逻辑支配下，马尔库塞无法将具有感性解放新形式的否定性、批判性与现实之间取得任何意义上的“再现”关系。对阿多诺来说，他所面对的一个直接问题就是，如何对审美形式的批判性做出具有历史合理性的解释与说明。当作品完全置于简单的个体化原则的统摄之下。艺术作品并不能通过完全的非意识形态化来争取在现代社会中的存在权利。为了重新确立自己的艺术自律性原则，批判美学又必然将批判的对象设定为在传统美学观念下已然形成的各种艺术原则。哈贝马斯之所以坚持现代文化的自律性原则是为了维护现代社会的整体性存在的合理性依据。现在的问题是，当面对文化保守派的论战时，哈贝马斯可以选择早期批判美学的激进艺术原则来回应，而当面对早期批判美学在否定的辩证法下形成的非实践性立场时，哈贝马斯又实际上倾向于用文化保守派的现代性方案来拯救现代社会的混乱局面。这表明，在哈贝马斯的整体性理论中，实际上存在着文化与社会间的断裂，在这种整体性断裂中，那些原本在艺术自律原则中所体现的精神化活动的意义只能在孤立的单个性形式中来进行。审美的意义虽然不再像以往在早期批判美学家那里一样，充当未来世界的设计师，但审美意义在现代世界中被普遍地加以轻视似乎也正在成为一种“合理性的表达”，所以，围绕着现代社会与文化的激烈争论也促使批判理论由对一种浪漫的文化理论的宣传向更为宽泛的社会理论的倡导转变，交流哲学中所包含的对哲学传统的批判实际上尚无力通过语言系统来承担起那些自己交付给自己的任务，因此，在实?更多还原

【Abstract】 Since Descartes had enacted the basic principle of when I think I existent, the antimony structure of thought and existent had become the basic logical structure in traditional academic inevitably. There is the split between the idea of subject in history and the inevitability recluse behind history circumstance. In cognition this kind of split acquit more as antimony between go-aheadism and passivism, feel and aesthesia. All of this constituted the complicated collectivity character. People cannot distinguish what belong to none-cognition or social activity. In the Critical Theory, the Traditional Theory bring on this kind of result: people cannot estimate definitely the real status of the society what they are alive in. The intent of the Critical Theory is break the enactment the Hegel’s self-retrospection, and that employ the social critic become the dominant theory. Horkheimer and Adorno’s critic on initiation sense continued the oppose from aesthetic modernity to the social modernity. Marcuse look the recency aesthetic form as a imaginary imaginable and illusion world confirmedly. The aesthetic form of art protects and provides the memory and intent of choice from truth. It is a human form that has the progress content. The aesthetic expatiate of falankefort school is not about the art itself but about the intent of social transform. For the sake of social transform, the critical theory had found the directness relationship between the aesthetic practice and the social critical stand. The principal of modernity is the subjectivity. Subjectivity had explained the superiority as well as the crisis of the modern society. It post that the modern society is an isochronously world about progress and catabolism. The pursuit of the Critical Theory is carrying the modem society through critical theory analyses. Its object is to base a rational live-form, using Horkheimer’s words. The Critical Theory attentions the rationality of modern society.In the course of it’s social practice, the theory elements that decomposed by the Critical Theory from traditional theory had changed much more than ever, The theory’s base had replaced by the aspiration that come from the practice. This shaped the antinomy place of the Critical Theory itself: The individual’s ascertained must be put into the changing society which full of ambivalent so as to saw about the practicality meaning of the Critical Theory’s individual practice. When they analysis technology’s practicality use in modern social life, the producing cause will appeared with a shadow form in which generator had been privatized bis name. This problemarisen with it’s enactment at the same time. The conformed casing that came from the separate of knowledge and practice. The man who have the classicalism complex had been separated into the pieces of desire, present as crash in structure. The individual’s confirm predicated that liberated the man from crashing social structure, and endowed the man as altered the whole society. Thus, all of the logical interpret have been put into the history field. There is the problem in this time: not only the living conditions can not rebirth the actuality welt, but also take from the classicality principia can not breed the civilization which have exceed energy. In the Critical Theory’s aesthetic, the concept of art is a concept of power embodying stalwart realism consciousness. The self-sufficiency of art’s form have shown itself on the course of through mess. In this form of art, all of the praxis have became the negative object. In this dominant logic, Marcuse’s liberate geist form have not the emersion relationship with the praxis. To adorno, the problem he must affront is that how to explain the history rationality of the critical aesthetic form. When the opus had absorbed by the individual’s principia, the art cannot shoot for existent right without ideology. In order to re-establish the self-sufficiency principia, the Critical Theory’s aesthetic must enactment the critic object as the traditional principia. The reason why Haberm更多还原