【作者】 尹航；

【导师】 王汶成； Jér（?）me Porée；

【作者基本信息】 山东大学 ， 文艺学， 2010， 博士

【摘要】 法国现象学美学家米盖尔.杜夫海纳,立足于法国存在主义化的现象学语境,从审美经验视角出发探讨美学及哲学问题,建立起涵盖审美经验现象学、文化人类学及自然哲学领域的美学与文艺理论体系。其美学思想蕴含着丰富而深刻的主体间性内涵,具体呈现为“主体间性思维方式(运用于美学审美经验研究)——主体间性范畴建构(建立在审美经验活动创作主体与欣赏主体,并上升至生存论哲学的人类自我与他人的间性关系)——主体间性终极关怀(人类整体与造化自然的亲缘关系)”的逻辑发展轨迹,包括人—物关系层面的审美经验维度、人—人关系层面的个体主体维度,以及人—自然层面的终极本源维度。三大维度交汇成一种“和”的主体间性内涵,在生存论的审美领域,回答了对人之本真生存方式与精神自由实现之路的不懈追间,对人类妥善处理自我与外部世界(包括人与物、与他人、与世界、与自然)的关系具有重要的启示意义。可以说,主体间性作为杜夫海纳美学思想的精髓,是在整体上贯穿其学术思想的总线,也是理解其学术人生的一把钥匙,更是其时代精神与现实意义所在。不无遗憾的是,由于研究视角的单一和原始材料的缺失,法国及中国学术界都从未对这种整体性、多层次的主体间性内涵加以自觉认识,更别说以此为视角对杜夫海纳的整个美学思想进行综合考察。本文在占有丰富的原始材料的基础上,通过对主体间性内涵多层次、多维度的深入挖掘,尝试从一个全新的视角重新审视、解读杜夫海纳的美学思想,旨在弥补当前研究况状之不足,并丰富当代哲学与美学发展中的主体间性研究。本文主体框架分为导言、正文、结语及附录部分,主要研究思路及内容如下：导言简要阐述杜夫海纳学术生平及其基本美学思想,特别介绍了他未经译成中文、又作为其整体美学理论体系重要组成部分的后期著述的学术思想,并分别综述了其在中法两国的研究概况。在比较分析的基础上,指出目前研究的弊病与不足,进而从主体间性的角度引出本文论题的缘起、价值及研究思路。在对主体间性这一概念做具体分析阐释及分类的基础上,明确在广义和狭义两个层面上界定了杜夫海纳美学思想的主体间性内涵——既包括对人与人之主体间性理论范畴的建构,又包括扩展、延伸至人与物、人与自然的主体间性思维方式与终极关怀,以此导入正文的具体论述。正文分为六章：第一章“审美知觉意向性及其主体间性思维方式”,从宏观角度阐释杜夫海纳美学思想的整体研究思路与总体思考框架——审美知觉意向性。在分析其所体现的主体间性特征的基础上,揭示这种整体构思上的主体间性思维方式。第一节“审美知觉意向性的理论来源”指出杜夫海纳继承胡塞尔现象学“回到事物本身的”严格科学精神,以现象学还原的方法将审美经验的两个相关项——审美对象与审美知觉纳入现象学的意向性结构中加以考察,但在具体探讨二者的相互关系时,则转向存在主义路径,将胡塞尔的意识指向并构成对象的纯粹意识意向性,加以梅洛—庞蒂纯粹知觉意向性意义上的生存论改造,而成为审美知觉与审美对象双向可逆作用的审美知觉意向性,以此为总体思路展开审美经验研究。第二节“审美知觉意向性的理论建构”具体描述杜夫海纳在上述批判性继承的基础上,对审美知觉意向性的个性化建构之路,即通过区分一般知觉与审美知觉、艺术作品与审美对象,将审美知觉与审美对象同时纳入“现象学循环”的相互共存关系加以把握。第三节“审美知觉意向性的主体间性思维方式”则通过超越主客二分性、“我—你”相遇交往性及其主体间性特征几大方面,具体揭示审美知觉意向性所体现的主体间性思维方式。第二章“审美对象与审美知觉的互为存在”,在“审美对象—审美知觉”层面,详细阐述杜夫海纳在审美知觉意向性指导下建立起来的审美对象与审美知觉的“互为存在”关系,由此考察其主体间性的思维方式在其美学思想的具体体现。第一节“主体间性思维方式在审美经验现象学中的静态体现”,从静态方面,通过审美对象的“为我们”与审美知觉的“为对象”所建立的相互关系来具体揭示这一体现。第二节“主体间性思维方式在审美经验现象学中的动态展开”则从动态方面,通过分析审美对象与审美知觉在各自的三个逻辑发展阶段——即审美对象的感性、再现世界与表现世界和审美知觉的肉体、想象与情感——交织作用并于辩证运动中共同达至最完备形态的相互关系,来具体揭示这一体现。第三章“对象‘准主体’与欣赏主体的相遇共存”,在“对象‘准主体’与欣赏主体”层面,揭示了杜夫海纳通过对审美对象自律性的强调,将“审美对象与审美知觉”的主体间性关系进一步深化为“对象‘准主体’与欣赏主体”的间性关系,并进一步揭示出杜夫海纳将两者的深度交感与契合协调回溯到“情感先验”的根基上。第一节“对象‘准主体’与欣赏主体的间性关系”揭示了审美对象建基于“时间空间化”与“空间时间化”的自律世界,诠释了杜夫海纳的审美对象“准主体”概念及其与欣赏主体之间建立在深度交往与交感思考基础上的主体间性关系。第二节“情感先验：对象‘准主体’与欣赏主体契合根基”指出“情感先验”概念得自杜夫海纳立足于舍勒的先验观而对康德先验观做了现象学意义的改造,将先验同时赋予知觉主体与知觉对象的双方,以此作为二者之间性关系的基础。第四章“自我与他人的交往对话”,从美学及哲学两个层面考察杜夫海纳对人与人之间的主体间性范畴的建构。第一节“创作主体与欣赏主体的生存论交往对话”揭示杜夫海纳于审美经验中发掘审美对象背后的创作主体世界及其形象,并以此建立创作主体与欣赏主体在审美经验活动中的主体间性关系,建构起审美经验层面的主体间性理论范畴。第二节“自我与他人的生存论交往对话”则分析了杜夫海纳对自我与他人的关系的全新理解,及其对列维纳斯现象学伦理学中绝对他者的存在论改造,建立起二者之间差异性前提下的共存交往关系,从而建构起生存论哲学层面的主体间性理论范畴。第五章“人类与自然的本源和谐”,从人类生存之终极关怀层面考察杜夫海纳美学思想的主体间性内涵及这位思想家主体间性思维方式的最根本体现。第一节“作为创作者的人类与发出召唤的造化自然”忠实解读杜夫海纳独具一格的造化自然观——即造化自然深不可测的创生伟力与人类对这一伟力的现实体现之间的辩证关系,分析阐释了这一辩证关系中造化自然与艺术创作者(诗人为其典型)之间的召唤与应答过程,明确了杜夫海纳视域中造化自然向人类的自我显现的诉求。第二节“作为欣赏者的人类与显现自身的造化自然”则分别从艺术审美经验活动与自然审美经验活动两个路向,揭示造化自然以审美的方式向人类显现自身的途径,并在对此加以综合把握的基础上,揭示了杜夫海纳美学思想在其主体间性终极关怀下,所欲言说的人类与造化自然在审美意义上的主体间性的本源和谐。第六章“杜夫海纳美学思想主体间性内涵的比较研究”,在前面五章的基础上明确将杜夫海纳美学思想的主体间性内涵划分为彼此相关、层层深入的三个关系维度,即“主体间性思维方式(运用于美学审美经验研究,体现在第一至三章)——主体间性范畴建构(建立在审美经验活动创作主体与欣赏主体,并上升至人类自我与他人的之间关系,体现在第四章)——主体间性终极关怀(人类整体与造化自然的亲缘关系,体现在第五章)”。并以此为三个不同向度,将其置于西方现当代哲学、美学主体间性思想整体发展脉络中加以比较研究,从而明确其在整个西方现当代哲学、美学主体间性发展中的独特地位及特殊意义。第一节“‘人—物’关系维度的主体间性思维方式”,在人与物的关系层面,将杜夫海纳的主体间性与茵加登的主客间性做比较。第二节“‘人—人’关系维度的主体间性范畴”,根据杜夫海纳对主体间性范畴的探讨本身所呈现的两大层面进行比较研究：其中,在审美经验层面,将杜夫海纳的知觉主体间性与乔治.普莱的意识主体间性进行比较；在生存论哲学层面,将杜夫海纳与海德格尔、梅洛—庞蒂三者的主体间性范畴建构进行比较。第三节“‘人类—自然’关系维度的主体间性终极关怀”着力在人类与超验之物的终极关系层面,将杜夫海纳的人类与造化自然的本源和谐与马丁.布伯的人类与永恒上帝的“我—你”相遇关系进行比较研究。结语在第六章比较研究的基础上,总结性地指出了杜夫海纳美学思想主体间性内涵所体现出来的“和”的倾向与诉求,并分别在“平衡均等”、“融合互契”和“同宗亲缘”三个层层深入的逻辑层面,对这一“和”的主体间性加以具体揭示。与此同时,指出杜夫海纳主体间性的三大局限,即社会历史维度的缺失、简单化理想化样态,以及仅从审美视角出发而造成的以偏概全之缺陷。最后,在人与物、人与人及人与自然三个层面,分别揭示了这种“和”的主体间性的现实意义与价值所在,即以审美的眼光观看世界,以审美的态度对待他人,以审美的关怀回归自然,从而以精神的平等和谐营造健康文明的在世生活方式,最终达到人类真正意义上的自由之境,在一种和谐、全面的艺术人生中实现人类终极意义上的自我救赎。更多还原

【Abstract】 Based on the context of the French existentialist phenomenology, Mikel.Dufrenne, the famous French thinker in the domain of phenomenological aesthetic, discusses the aesthetic and philosophical questions through the aesthetic perspective of the research on esthetic experience. He establishes the system of the aesthetic and artistic theory that covers the domains of the phenomenology of aesthetic experience, the cultural anthropology and the natural philosophy. His aesthetic thought contains a abundant and profound connotation of inter-subjectivity, which presents concretely a logical developing trace as "thinking method of inter-subjectivity(applied in the research of the aesthetic experience)-construction of the category inter-subjectivity(applied in the relationship between the creating subject and the appreciating subject in the activity of the aesthetic experience, between the self and the others in the existentialist philosophy)-ultimate attention of inter-subjectivity(the affinity relationship between the whole human and the Nature), and which covers the level of aesthetic experience in the aspect of the relation between human and things, that of individual subject in the aspect of the relation between human and human, that of ultimate origin in the aspect of the relation between human beings and the Nature. These three levels contribute to a inter-subjectivity connotation of accordance, in order to search for the answer in the existentialist aesthetic domain for the question persistently proposed by Dufrenne:What on earth is the true existential mode of human beings and the method to realize the spiritual freedom, which has a important inspiring significance for the correct and reasonable behavior to treat the relationship of themselves and the exterior world, such as things, others and nature. We can say, as the marrow of Dufrenne’s aesthetic thought, inter-subjectivity is the main clue to understand Dufrenne’s academic life and furthermore the place which embodies its time spirit and its practical significance. However, because of the single visual angle and the lack of the original materials, French and Chinese researchers have never been conscious of this connotation and then grasp synthetically Dufrenne’s whole aesthetic thought by this visual angle. Based on the abundant original materials, this dissertation studies Dufrenne’s whole and complete aesthetic thought by deeply excavate the inter-subjectivity connotation for the first time, in order to compensate the shortcomings of recent research and enlarge the research on inter-subjectivity in the development of contemporary philosophy and aesthetic.The main body of this dissertation is divided in the introduction, main text, epilogue and appendix:The part of introduction expounds Dufrenne’s academic life and his principal aesthetic thought, especially the thought in the later period works which haven’t been translated into Chinese but considered as the important parts of his complete aesthetic theoretical system, as well as the related research in France and in Chinese. Based on the comparison, this part points out the weakness of these research and leads to the origin of problem, the value of research and the plan of this dissertation. After concretely analysis and classify the notion of inter-subjectivity, this part identifies explicitly the connotation of inter-subjectivity in Dufrenne’s aesthetic thought as a connotation which embodies at the same time two aspects:the construction of inter-subjectivity theoretical category between human and human(the broad sense of inter-subjectivity), the thinking method and the ultimate attention of inter-subjectivity which extend to the relationship of human and things, human beings and Nature. In this way, this part drives the dissertation to the following concrete discussion.The main text is divided into six chapters:The first chapter, Intentionality of aesthetic perception, expounds the general research project or the whole thinking structure, and reveals its thinking method of inter-subjectivity. The first section, Theoretical origin of the intentionality of aesthetic perception, points out that accepting Husserl’s scientific spirit "to the things(phenomena) themselves", Dufrenne put aesthetic object and aesthetic perception into the structure of intentionality to be researched, but while concretely studying their relationship, he turns to the direction of existentialism and transforms Husserl’s intentionality of pure consciousness in which consciousness points and constitutes its object only in one single direction to the intentionality of aesthetic perception in which aesthetic subject and object function on each other, according to the inspiration by Merleau-Ponty’s intentionality of pure perception. This structure or method leads him to carry out the research of aesthetic experience. The second section, Construction of intentionality of aesthetic perception, concretely describe the route of characteristic construction of intentionality of aesthetic perception based on the critical succession. That is to put rigidly aesthetic perception and aesthetic object into the phenomenological circle to be grasped, differentiating the general perception and the aesthetic perception, the artistic works and the aesthetic object. The third section, Thinking method of inter-subjectivity of intentionality of aesthetic perception, concretely reveals the thinking method of inter-subjectivity embodied by the intentionality of aesthetic perception by there parts: the transcendence of dualistic opposition subject-object, the reciprocity of I-Thou and inter-subjectivity.The second chapter, "Being for each other" of the aesthetic object and the aesthetic perception, on the level of aesthetic object-aesthetic subject, elaborates the relation of "being for each other" between aesthetic object and aesthetic perception under the direction of intentionality of aesthetic perception, according to which this part studies the concrete embodiment of its thinking method of inter-subjectivity. The first section, Static embodiment of the thinking method of inter-subjectivity, reveals this embodiment through the reciprocity between the "for us" of aesthetic object and the "for object" of aesthetic perception on the static aspect. The second section, Dynamic unfoldment of the thinking method of inter-subjectivity, reveals this embodiment by analyzing the three logical developing stages of both aesthetic object and aesthetic perception on the dynamic aspect:sensibility of aesthetic object and body of aesthetic perception, representation of aesthetic object and imagination of aesthetic perception, expression of aesthetic object and sentiment of aesthetic perception.The third chapter, Meeting and co-existence of the quasi-subject and the appreciating subject, reveals that Dufrenne deepens the inter-subjectivity between aesthetic object and aesthetic perception into the inter-subjectivity between the quasi-subject and the appreciating subject through the emphasis of the autonomy of aesthetic object and furthermore reveals that Dufrenne lead the profound sympathetic reflection and the accordance of the two return to the foundation of affective a priori. The first section, Inter-subjectivity between the quasi-subject and the appreciating subject, expounds the notion of quasi-subject and its relationship with the appreciating subject, based on the autonomic world of the space in the time and the time in the space. The second section, Affective a priori:the foundation of accordance between the quasi-subject and the appreciating subject, points out that the notion of affective a priori comes from the phenomenological transformation of Kant’s idea of a priori carried out by Dufrenne, based on Schiller’s idea of a priori. That is to distribute the a priori equally to perceptive subject and perceptive object and then considers it as the foundation of their inter-subjectivity.The fourth chapter, Contract and communication between self and others, studies Dufrenne’s construction of the category inter-subjectivity from both the aesthetic and philosophical levels. The first section, Existentialist contract and communication between the creating subject and the appreciating subject, reveals that Dufrenne discovers the world of creative subject and his image behind aesthetic object, then establishes the inter-subjectivity between the creative subject and the appreciating subject in the activity of aesthetic experience and in this way construct the theoretical category of inter-subjectivity on the level of aesthetic experience. The second section, Existentialist contract and communication between self and others, analyzes the new idea of the relation between the humans and the existentialist transformation from the absolute other in Levinas’ phenomenological ethics. In this way, Dufrenne establishes the co-existence and the reciprocity under the premise of their difference and construct the theoretical category of inter-subjectivity on the level of existentialist philosophy.The fifth chapter, Original accordance between the human beings and the Nature, studies the most profound embodiment of Dufrenne’s thinking method of inter-subjectivity on the level of the ultimate attention of the human existence. The first section, Human beings as the creator and Nature who send a demand, expounds Dufrenne’s characteristic idea of the Nature- the dialectical relation between the great creative power of the Nature and its practical embodiment realized by the human beings, analyzes the progress of demanding and replying between the Nature and the artistic creators(typically the poets) and makes clear the pursue of the Nature to present itself to the human beings in Dufrenne’s field of vision. The second section, Human beings as the appreciater and Nature who send a demand, reveals along both directions of aesthetic experience of art and that of nature the route though which the Nature presents itself to the human beings by the aesthetic method, and the original accordance of aesthetic inter-subjectivity between the human beings and the Nature, which is expressed by the ultimate attention of inter-subjectivity in Dufrenne’s aesthetic thought.The sixth chapter, Comparative research of the connotation of inter-subjectivity in Dufrenne’s aesthetic thought, classifies explicitly the connotation of inter-subjectivity in Dufrenne’s aesthetic thought into three relation levels which concerns each other and go deeply. Moreover, this part put the connotation of inter-subjectivity into the overall developing trace of inter-subjectivity in the contemporary philosophical and aesthetic thoughts, according to these three logically progressing levels. In this way, this part tries to make clear the special place and significance of Dufrenne’s inter-subjectivity in the development of the whole contemporary philosophical and aesthetic inter-subjectivity. The first section, Thinking method of inter-subjectivity in the relation level of human-things:comparison between Dufrenne’s inter-subjectivity and Ingarden’s relationship of subject and object, compares Dufrenne’s inter-subjectivity and Ingarden’s relationship of subject and object on the level of the relation between human and things. The second section, Category inter-subjectivity in the relation level of human-human, carries out the comparative research according to the two aspects contained by Dufrenne’s discussion on the category inter-subjectivity.on the level of aesthetic experience, the part compares Dufrenne’s perceptional inter-subjectivity and G. Poulet’s conscious inter-subjectivity. On the level of existentialist philosophy, this part compares Dufrenne, Heidegger and Merleau-Ponty on the construction of category inter-subjectivity. The third section, Ultimate attention of inter-subjectivity in the relation level of human beings and the Nature:comparison between Dufrenne’s inter-subjectivity and Martin. Buber’s relationship of I-thou, compares on the level of the relation between the human beings and the transcendental things Dufrenne’s original accordance between the human beings and the Nature and Buber’s meeting relationship of I-thou between the human beings and the eternal God.Based on the comparative research in the sixth chapter, the epilogue concludes the tendency and pursue of accordance embodied by the connotation of Dufrenne’s inter-subjectivity, and concretely reveals it through three logically deep-going levels: balance and equality, fusion and agreement, affinity. Meanwhile, this part points out the three theoretical weakness of Dufrenne’s inter-subjectivity:the lack of social and historical aspect, simplism and ideal mode, partiality caused by the pure aesthetic perspective. Finally, this part reveals the realistic significance and research value of this kind of accordance respectively on the levels of human-things, human-human and human beings- Nature, which is to observe the world with a aesthetic sight, to treat others with a aesthetic attitude and to return to the nature with a aesthetic attention, in order to form a healthful and civilized existing mode, finally achieve the free state in the true existentialist meaning and realize the ultimate self- saving in the harmonic and complete artistic life.更多还原