【作者】 陈全黎；

【导师】 张玉能；

【作者基本信息】 华中师范大学 ， 文艺学， 2007， 博士

【摘要】 法兰克福学派批判理论经历了约80年的发展，成为西方马克思主义阵营中最有影响的学术流派；中国马克思主义实践美学经历了约50年的发展，成为中国当代美学的主流学派，对两者进行比较与融通，无论对西方马克思主义美学研究，还是实践美学的发展创新，都具有明显的现实意义和一定的学术价值。本文试图从一个具有普适性的理论视点——现代性出发，对批判理论与实践美学进行比较与融通。通过对西方现代性话语的简单梳理，本文将现代性的基本内涵概括如下：现代性的两个基本范畴——感性与理性；两个基本问题——快感与政治、理性与艺术；三个发展阶段——启蒙现代性、审美现代性、反思现代性，以此作为全文的结构框架和逻辑主线。全文共有六个部分。《导论》。从马克思主义美学现代性的理论原点——马克思的《1844年经济学哲学手稿》出发，通过比较第一代批判理论与实践美学的两位代表人物——马尔库塞与李泽厚对《手稿》的解读，可以发现，马尔库塞与李泽厚都继承了康德、席勒、马克思对感性的重视，但李泽厚反对马尔库塞将感性本体化的审美主义倾向。在这种意义上，本文将实践美学理解为一种反思现代性的美学。通过考察第二代批判理论的代表人物哈贝马斯的审美现代性批判，本文认为，作为反思现代性的实践美学与哈贝马斯的审美现代性批判有着相同的理论诉求，这就是从激进的理性批判和爱欲解放走向对审美主义的反思，并重估理性的历史价值。从这种意义上说，实践美学是一项未完成的现代性工程。第一章《快感与政治》。快感不仅是传统美学的重要范畴，也是现代消费社会的价值取向和欲望动力。因此，本文将快感与政治作为现代性美学话语的第一个基本问题。第一节将席勒的《审美教育书简》作为西方马克思主义政治美学的理论原点，探讨席勒的美学思想对批判理论与实践美学的影响。批判理论继承了席勒的政治美学思想，形成了批判理论独特的政治美学；而实践美学高度重视席勒的审美人类学思想，并用马克思的实践观点对席勒的审美乌托邦思想进行了改造。第二节以马尔库塞和詹姆逊为个案，探讨快感政治学的理论与实践。本文认为，从马尔库塞的弗洛伊德的马克思主义到詹姆逊的后现代主义文化理论，表明快感的政治潜能已经耗尽。后现代主义对快感的过度迷恋，导致了快感政治功能的去势。作为本章的结论，第三节以福柯为例说明批判理论快感政治学的主要局限，试图将福柯的“快感实践”引入实践美学，提出一种强调适度与节制的实践美学。第二章《理性与艺术》。启蒙理性与艺术审美的关系，是西方马克思主义美学的核心问题，也是市场经济语境下的中国马克思主义实践美学无法回避的问题。因此，本文将理性与艺术作为现代性美学话语的第二个基本问题。第一节通过对批判理论的重要文本《启蒙辩证法》之附录一《奥德修斯或神话与启蒙》的文本细读，描绘了启蒙精神的五副面孔：计算、实证、逻辑、禁欲、纵欲，进而分析了启蒙与神话的辩证法：启蒙理性——工具理性，科学技术——意识形态。第二节以阿多诺为例探讨了批判理论关于自然美与艺术美的基本观点。在自然美方面，阿多诺继承了康德的自然美学观，并对黑格尔的自然美学观进行了元批判，提出了自然美是一种意识形态概念的重要观点。在艺术美方面，本文探讨了阿多诺的音乐美学和本雅明的电影美学，将阿多诺与本雅明关于机械复制艺术的争论视为现代性问题一个硬币的两面。作为本章的结论，第三节探讨了波斯特面向“第二媒介时代”的批判理论，并通过“虚拟实践”的概念将实践美学与批判理论的最新进展联系起来。第三章从现代性视角解读实践美学。实践美学的现代性问题之一，是实践范畴本身的现代性。实践是一个古老的伦理学范畴，也是一个恒新恒异的现代性概念。从实践的结构看，狭义实践是指物质生产实践，广义实践包括现实的人的所有感性活动，如话语实践、快感实践、虚拟实践等等。作为主客体之间的中介，实践具有否定与批判现实的重要功能。实践美学的现代性问题之二，是实践美学的哲学基础——马克思主义实践哲学的现代性。实践美学坚持实践对理论的优先性，坚持物质生产实践的第一性，反对西方马克思主义对马克思主义实践哲学的修正与改良，反对解构主义带来的相对主义和虚无主义。实践美学的现代性问题之三，是实践美学研究方法的现代性。实践美学不仅用实践一元论解决了美学中长期以来纠缠不清的心物关系问题，而且用历史和逻辑、共时与历时相统一的方法将实验心理学与审美人类学结合起来，从而使自身建立在更加坚实的实证基础上。第四章探讨实践美学的现代性批判。从日常生活实践的经验现实出发，实践美学的现代性批判主要表现在以下两个方面：一是美学神秘主义批判。美学神秘主义的主要命题是：审美超越的形而上性，审美经验的不可言说性，审美经验与宗教经验的同一性。实践美学将美看成一种客观的社会现象，将美感视为可以理解的人的一种心理机制，反对过度夸大审美的功能，把审美当成拯救人类的新宗教而加以神秘化的倾向。二是审美个体主义批判。集体主义与个体主义的对立，在西方政治哲学中，表现为贡斯当的“古代人的自由”和“现代人的自由”，以及伯林的“积极自由”和“消极自由”。借鉴生命哲学家倭铿对“审美个体主义”的批判，本文用自由、个人、感官、瞬间、虚假、神秘等六个关键词来分析“审美个体主义”的主要特征和局限。《结语》。本文的最终目的在于，借鉴批判理论的合理内核，进一步发展实践美学，凸显实践美学的现实性和批判性。这种理论动机用一句话概括，就是走向“实践批判”的美学。“实践批判”的美学，既是融通批判理论与实践美学的逻辑必然，也是马克思主义实践美学的题中应有之义。要真正走向“实践批判”的美学，实现马克思主义实践美学的范式转换，就必须从人的现实实践出发，从日常生活的经验现实出发，关注新的实践领域和审美活动，将实践美学发展成为直面现实的审美社会学。更多还原

【Abstract】 Critical Theory of the Frankfurt School has become the most influential academic school of the Western Marxism from 1923 to now; Correspondingly, the Chinese Marxism Practical Aesthetics has become the main trend of the Chinese contemporary aesthetics from 1956 to now, so the comparison between this two has immediate significance and academic value to the study of western aesthetics and the innovation of Practical Aesthetics.From the universal perspective of modernity, this dissertation trys to compare Critical Theory with Practical Aesthetics, and through a simple study of the complicate western modernity discourse, this dissertation generalizes the basic contents of modernity as follows: sensuousness and reason,the two basic category of modernity; pleasure and politics, reason and art, the two basic problems of the aesthetic discourse of modernity; enlightenment modernity, aesthetic modernity,reflective modernity,the three development stage of modernity.The whole dissertation comprises six parts.From the original point of Marxism aesthetic modernity,namely Marx’s "Economic and Philosophic Manuscripts of 1844",the introduction compares the interpretation of "Manuscripts" by Marcuse and Li Zehou,and through which we can find that Li Zehou and Marcuse take seriously the discussions about sensuousness by Kant, Schiller and Marx,but Li Zehou opposes the aestheticism tendency of Marcuse which takes sensuousness as the ontology of Marxism Philosophy.In this sense, the dissertation concludes that Practical Aesthetics is an aesthetics of reflective modernity. There is a common theory appeal in Practical Aesthetics as reflective modernity and Habermas’ critique of aesthetic modernity that is re-appraising the value of reason and rethinking the radical critique of reason and the radical eros liberation which is called aestheticism.In this sense, Practical Aesthetics is an unfinished project of modernity.In chapter one we consider "pleasure and politics" as the first essential problem of the aesthetic discourse of modernity on the ground that pleasure is not only the important category of the classical aesthetics but also the value orientation and desire motive of the modern society of consumption. From the original point of Western Marxism political aesthetics, namely Schiller’s "Letters on the Aesthetic Education of Man", section one explores into the influences of Schiller’s aesthetics upon the Critical Theory and Practical Aesthetics. Critical Theory develops Schiller’s political aesthetics and constructs an particular political aesthetics.on the contrary, Practical Aesthetics not only attach much importance to Schiller’s aesthetic anthropology thoughts but also use Marx’ practical philosophy to reform the aesthetic Utopia thoughts of Schiller. Section two probes into the theory and practice of the pleasure politics of Marcuse and Jameson.From Marcuse’s Freudo-Marxism to Jameson’s postmodernism cultural theory, we can find that the political potential energy of pleasure has exhausted because the infatuation for pleasure finally leads to castration of its political function.As the conclusion of this chapter,section three expounds the limit of the pleasure politics of Critical Theory through a case study of Foucault.On this basis,the dissertation trys to draw Foucault’s concept of pleasure practice into Practical Aesthetics and put forward a practical aesthetics emphasizing the importance of temperance and moderation.Chapter two regards "reason and art" as the second essential problem of the aesthetic discourse of modernity on the ground that the relation between enlightenment reason and aesthetics is not only the core of Western Marxism aesthetics but also the key problem of Practical Aesthetics in the context of market economy.By the close reading of the first excursus of Dialectic of Enlightenment,"Odysseus,or Myth and Enlightenment",section one dipects five faces of enlightenment spirit that is calculation,positivism,logic,asceticism and hedonism,and analyses the dialectics of myth and enlightenment:technology and science has become an ideology, enlightenment reason has become instrumental reason.Taking Adorn’s aesthetic theory for example,section two illustrates the aesthetic thoughts of Critical Theory.In the respect of natural beauty,Adorn carried forward Kant’s aesthetic theory and made a meta-critique of Hegel’s depreciating of natural beauty,and in the respect of art beauty, the dissertation compares Adorn’s musical aesthetics with Benjamin’s movie aesthetics and considers the debate between Adorn and Benjamin as the double faces of the same coin of modernity promble.As the conclusion of this chapter, section three discusses Poster’s critical theory facing the age of the second media and relates this to Practical Aesthetics through the concept of virtual practice.Chapter three trys to expound Practical Aesthetics from the perspective of modernity.The first problem of Practical Aesthetics’ modernity is the modernization of the category Practice which is not only a classical ethical concept but also an up-to-date category.The structure of Practical Aesthetics can be understood in this two aspects:in its narrow sense, Practice means material production;in its broad sense,Praxis means all kinds of human being’s sensuous activities including discourse communication,pleasure practice, virtual practice and so on.As the intermediary of the subject and the object, Practice also takes the function of negating and criticizing the real life.The second problem of Practical Aesthetics’ modernity is the modernization of Marxism practical philosophy.Practical Aesthetics upholds the priority of practice to theory,the primary of material productive practice and opposes Western Marxist’s revisionism tendency to reform Marx’ practical philosophy. Practical Aesthetics also opposes the fashionable Deconstructionism and its by-product relativism and nihilism. The third problem of Practical Aesthetics’modernity is the modernization of its study method. Practical Aesthetics not only use practice monism solve the problem of the relationship between mind and materials which perplex the philosophy aesthetics for a long time, but also use the integrated method of the historic and logic, the diachronic and synchronic to combine the experimental psychology and aesthetic genesis in order to make itself establish on the solid positive foundation.Chapter four demonstrates the critique of modernity of Practical Aesthetics which includes the critique of aesthetic mysticism and individualism.The main viewpoints of mysticism aesthetics lie in this three propositions:the transcending quality of aesthetic activities,the ineffability of aesthetic experiences,and the identity of the aesthetic and religious experiences.Practice Aesthetics takes beauty as an objective social phenomenon and the sense of beauty a psychological mechanism which can be understood,and therefore opposes the mysterious tendency to exaggerate the function of aesthetics or take aesthetics as a new religion.The difference between collectivism and individualism lies in B.Constant’s liberty of the ancients and moderns or I.Belin’s positive and negative liberty in the western politic philosophy.According to the critique of aesthetic individualism by R.Eucken, the dissertation analyses its characters and defects using six key words such as liberty, individuality, sensuousness, instantaneity,illusion,and mysticism.The ultimate motive of this dissertation is to stimulate the real significance and critical energy of Practical Aesthetics through assimilating the rational contents of Critical Theory, and this purpuse can be generalized in a word: toward a critique-oriented practice aesthetics which is not only the logic result of the comparative study of Critical Theory and Practical Aesthetics but also the intrinsic attribute of Marxism Practical Aesthetics.For the purpuse of the paradigm shift from practical aesthetics to the critique-oriented practice aesthetics, we must expand the intension of Practice and put its focus on the new practice fields and aesthetic activities,and finally make Practical Aesthetics become an aesthetic sociology facing the human being’s realistic activities and the basic experiences of everyday life.更多还原