【作者】 艾士薇；

【导师】 孙文宪；

【作者基本信息】 华中师范大学 ， 文艺学， 2012， 博士

【摘要】 阿兰·巴迪欧是20世纪法国最具原创性的哲学家之一。他是继德里达之后又一个走向世界哲学舞台的法国哲学家。巴迪欧的原创性哲学以数学为基础,其事件哲学在20世纪晚期哲学乃至新世纪的哲学领域中具有举足轻重的地位。本文主要考察巴迪欧建立在其事件哲学基础之上的“非美学”思想,主要探讨“非美学”思想体系的建构,包括其形成背景、基本特征、哲学基础及其艺术批评实践等方面。除绪论、结语外,本文共分为六章,这六章总体上又可分为三个部分,即问题篇、理论篇和实践篇。绪论部分交代了问题的源起,对本文选题的原因作了理论上的澄清。然后对本文的研究对象作出介绍和界定,首先介绍巴迪欧的四副面孔,即作为数学家、哲学家、作家、批评家的四重身份,其次重点对巴迪欧的“非美学”概念的译名问题进行系统的清理,指出“非美学”译名的合理性和“反美学”、“内美学”等译名的不准确性。再在梳理国内外关于巴迪欧的研究现状的基础上,阐述本文的研究思路和主要内容,以及研究的方法和意义。本文的第一部分是问题篇,主要探讨“非美学”思想产生的背景及其基本特征。通过第一章中对“反美学”的反思和第二章对三种传统美学方案的辨析,第三章中正式提出巴迪欧的“非美学”思想及其方案,并对其基本特征进行归纳和阐述。第一章主要围绕“反美学”的问题,探讨后现代语境中当代美学的困境及其出路。在盛行解构主义与相对主义的后现代语境中,真理危机日趋严重,“反美学”由此出现。“反美学”主要表现为两种形态：其一是现代派的反美学,以现代主义艺术中的审丑为主要特征；其二是后现代的反美学,主要表现为跨学科的大众文化研究、日常生活审美化理论等方面。巴迪欧并不赞同后现代语境中解构真理的行动,他明确反对朗西埃式的反美学,相信真理的存在,坚守艺术的独立品格,因此他在后现代语境中提出了“非美学”新方案。第二章主要辨析传统的三种美学方案。巴迪欧在《非美学手册》中以艺术与真理的关系为突破口,将传统的美学分为三种方案,笔者认为这在很大程度上是对既有美学史的重新书写,其“重述美学史”的意义不容低估。巴迪欧认为,艺术与真理的关系主要有两种,即艺术可以把握真理与艺术不能把握真理。就艺术可以掌握真理来说,主要体现为以海德格尔为代表的浪漫式美学方案,在这种美学方案中,真理内在于艺术,但这种真理是普遍性的,凌驾于艺术之上,它自主地选择是否以及在何种艺术中敞开。在巴迪欧所提出的分类原则和例证的基础上,笔者进一步深化了浪漫式美学方案的辨析,认为可以分为三种类型,它们分别标举“道理”、“存在”与“原型”。就艺术不能把握真理来说,主要分为以柏拉图为代表的教诲式美学方案与以亚里士多德为代表的古典式美学方案。巴迪欧认为,教诲式美学方案主张艺术不能把握真理,它只能展现真理的效应,起到教育民众的作用。关于艺术如何表现真理效应,笔者立足巴迪欧的论述并加以深化,将教诲式美学方案分为直白型与隐晦型。古典式美学方案认为,虽然艺术不能把握真理,但它没必要一定去寻求真理,艺术主要起疏泄情绪、净化心灵的作用。本章重点辨析了在巴迪欧观点之上延伸出来的卡塔西斯、精神分析和中国化的古典式美学方案。巴迪欧通过归纳以上三种传统美学方案有效地总结了艺术与真理的关系,然而在这三种传统美学方案中艺术都不具有独立性,而且它们在当前已经饱和,无法解释当下的艺术创作。于是“非美学”应运而生。第三章主要阐述“非美学”的概念及其基本特征,并揭示它对传统美学方案和反美学的超越性。“非美学”方案强调艺术对于哲学的独立性,主张艺术是真理的生产者,反对传统的美学思辩,倡导在具有独立艺术品格的作品中探寻“内哲学效应”。在这种巴迪欧自谓的第四种美学方案中,艺术具有高度的自主性,它不再是真理的附庸,而是哲学的前提。此时艺术可以把握真理,真理内在于艺术,而且艺术所生产的真理具有独特性。在真理与艺术的关系上,“非美学”方案兼具真理的“内在性”和“独特性”,而浪漫式方案中,真理具有内在性却不具有独特性；教诲式方案中,真理具有独特性但没有内在性；古典式方案中,真理既不具有内在性也不具有独特性。由此体现了“非美学”的超越性。本文的第二部分是理论篇。这一部分主要深入探究巴迪欧“非美学”的哲学基础,即巴迪欧的真理观与主体观,分别对应于第四章和第五章。第四章主要探讨巴迪欧的真理观。第一节首先探讨作为本体论的数学,因为巴迪欧的真理观与数学密不可分。巴迪欧的哲学是以现代数学作为基石的,他认为数学是本体论,是作为存在之存在的科学。巴迪欧的真理观主要是源于康托尔和保罗·科恩的集合理论,他以集合理论为基础来理解所有的现象与状态。巴迪欧认为作为存在身份的存在是无法被表现的,为此他提出了情境的概念,情境是表现出来的多样性,也是一种表现出来的存在,其中包含了多元、计为一的制度或结构。情境通常被理解为事件发生的场所。巴迪欧还通过集合与幂集的区别,将情境分为情境(结构)与情境状态两种类型,他将这些来自数学集合的概念,放到哲学的系统和范畴中进行思考。第二节探讨巴迪欧的事件哲学以及真理与事件的关系。在巴迪欧看来,并不是每一件发生的事情都可以成为事件,而事件主要存在于事件场所,事件场所部分处于情境中。巴迪欧将特殊的、不稳定的和非常规的多元称为事件场所。他还将存在分为常态、赘生物与奇点三种类型,并认为奇点反对赘生物和常态,是历史存在的本质属性,尤其是事件场所的本质属性。事件场所与情境中的奇点,即独特的多元密不可分。但不是所有的情境中都能够有事件场所,巴迪欧将情境分为自然情境、中立情境和历史情境三种类型,只有在不稳定的历史情境中,事件才有可能显现。事件由其所在的事件场所与自身共同构成,它是不可在情境中显现的元素,但又超越了情境中的运算方式,虽不能被计为一,但也不能归为零,它呈现出一种“超一”的姿态,与情境相关却超越了情境,而这一切构成了具有独特性质的事件。在巴迪欧看来,事件是真理的起点。真理是被假设完整的脱殊忠诚程序所积极调查的那些项的再集合。真理是情境的无穷子集,包含着无穷无尽的踪迹。真理是难以察觉的,它不会落到百科全书的任何限定词下。他借用拉康的术语认为,真理在知识里凿洞。巴迪欧强调真理是整个情境的真理,是情境之存在的真理。第三节探讨真理的生产程序。巴迪欧认为真理的生产程序主要可以分为四种类型,即政治、艺术、科学和爱。他认为艺术真理具有内在性和独特性,它最终是一个艺术程序,一个艺术配置,一种脱殊的多元,无法被命名。艺术真理由艺术事件所引发,但不是所有的艺术作品都能成为事件。第五章主要探讨巴迪欧的主体观。巴迪欧认为存在着两种传统的主体观,即唯心主体观与唯物主体观。与唯物主义主体范式将主体简化为身体不同,唯心主义主体范式将主体与身体彻底地分离开来。巴迪欧认为唯心主体观重视死亡中生命的体验,而唯物主体观注重生命中死亡的体验,前者等同于宗教般的牺牲,后者属于世俗的享受。巴迪欧认为当今世界就是享受与牺牲之间的战争,但都指向死亡,所以他提出了第三种主体范式。在新的主体范式之下,主体与身体之间具有同一性,既不可分也不可约,两者结合在一起,却又保持着彼此的特殊性,巴迪欧给出的是主体化的身体,这一新的身体作为两者的结合体而出现。巴迪欧提倡的是忠诚主体,他反对模糊主体和反作用主体。他认为主体是超出情境的配置,但是主体与身体的结合,使它仍旧可以显现在情境中。巴迪欧理解的主体处于真理生成的轨道之中,它居于事件与真理之间,所以主体必须是忠诚的,它要对事件忠诚。巴迪欧认为主体具有瞬时性和持续性,他以此将主体分为了主体化与主体进程。主体化具有破坏性和暂时性,它通常标志着主体在情境中出现的时刻,与介入相联系,并分为两种不同的形式——焦虑和勇气,主要表现为起义和暴动。主体进程是破坏后的重新组合,它是持久的,目的在于对当时情境的重组,通向的是超我与公正。超我是恐怖的主体进程,具有保守性。在巴迪欧看来,焦虑和勇气、超我与公正,四者之间的排列组合可构成不同的主体类型及其功能。本文的第三部分是实践篇,即第六章,这一部分主要探讨巴迪欧的“非美学”艺术批评实践。首先概述巴迪欧对当代艺术的认识。在巴迪欧心中,艺术是通过感性而建立起来的一种新的普遍性,与金钱、权力以及全球化所造成的强制性普遍性不同,艺术真理与科学、政治和爱生产的真理也不同,它带有感性的特质。艺术真理是理念在感性中的突然发生。艺术新的普遍性是在感性中理念突然发生的新形式的创造。艺术是一种真正的可能性,具有创造、反抗和解放的力量。巴迪欧希望建立一种新的艺术主体,它既不是“享受”也不是“牺牲”,艺术主体所通向的是一种创造,而不是死亡。艺术的主体不是艺术家,艺术的主体存在就是艺术作品。巴迪欧认为当代艺术是一种“帝国艺术”,主要呈现为“浪漫主义与形式主义的混合物”。在概述巴迪欧的艺术观之后,以马拉美诗歌和瓦格纳音乐为个案,具体探讨巴迪欧的诗歌批评和音乐批评的实践形态。巴迪欧的诗歌批评策略分为三步：首先将诗歌从常规的诗学即既定情境中拉出来；其次将诗歌以散文的形式进行动态的描述；最后从散文状态回归诗歌之中,体味其中的真意。他认为马拉美诗歌是一个艺术事件,在其文本的空无之处成就了事件场所,走向了真理的生产之途。巴迪欧对瓦格纳音乐的解读与尼采、阿多诺、拉库-拉巴特截然不同,他不认为瓦格纳音乐与法西斯主义或文化工业有关,相反他认为瓦格纳音乐是伟大艺术,是能够生产真理的艺术事件,体现了一个新的艺术主体的忠诚。结语部分主要涉及三个方面的问题。首先,作为一位柏拉图主义者,巴迪欧常被人误解为传统与守旧,但他并非传统的柏拉图主义者,而是实现了对柏拉图的回归与超越。其次,朗西埃认为巴迪欧是一位扭曲的现代主义者,实际上巴迪欧是一位后现代之后的思想家,实现了对现代与后现代的双重超越。最后阐明巴迪欧思想的意义和前景,他几乎完成了尼采、福柯、德里达等人晚年未曾完成的哲学和美学的双重重构使命。更多还原

【Abstract】 Alain Badiou is one of the most original French philosophes in the20th century. He is another French philosophe after Derrida who comes into the stage of the world philosophy. The creative philosophy of Badiou bases on the mathematics, specially his event philosophy is very important in the last20th century and the new century. This thesis mainly investigates Badiou’s "inaesthetics" thoughts who basis on his event philosophy, and researches the structure of "inaesthetics" thought system, which including the forming background, fundamental characteristics, philosophical foundation and the art critique practices, etc. Besides the introduction and the conclusion, this thesis divides into six chapters, and these six chapters can separates into three parts:the question part, theoretical part and practice part.The introduction explains the origin of the question, and clarifies theoretically the raison of this subject. And then makes the introduction and limitation of the research object, firstly introduces the four faces of Alain Badiou, as mathematician, philosophe, author and critic, secondly clarifies the translation of the conception of Badiou’s "inaesthetics", points that the reasonability of "非美学" and the inexactness of "反美学(anti-aesthetics)" and "内美学(intra-aesthetics)". Lastly, on the basis of classification of the current research situations about Badiou, the author states the research thought, main content, research method and the meaning of this thesis.The first part of this thesis is the question part, mainly discusses the forming background and fundamental characteristics of the "inaesthetics". Through the rethinking of’anti-aesthetics’in the first chapter and analysis of traditional aesthetic schemata in the chapter2, the author formally proposes the "inaesthetics" thought and schema of Badiou, and makes the induction and descriptions of its essential characteristics.Chapter1focuses on the problem of "anti-aesthetics", and investigates the dilemma and solutions of modern aesthetics in the postmodern context. In the postmodern context with prevalence of deconstruction and relativism, the truth crisis is becoming severe generally, and "anti-aesthetics" appears."Anti-aesthetics" presents two forms:the first one is the anti-aesthetics of modernist, characterizes as appreciation of the ugly in the modernist arts; the second one is the anti-aesthetics of post-modernism, mainly manifests as mass culture research of cross-discipline and the aestheticization of everyday life, etc. Badiou disagrees with the deconstruction of truth in the postmodern context, and he specially opposes the anti-aesthetics of Ranciere, believes in the existence of the truth, and insists on the independent qualities of art, therefore, he proposes a new schema- ’inaesthetics’in the postmodern context.Chapter2analyses the three traditional aesthetic schemata. In Handbook of Inaesthetics, Badiou takes the relation between art and truth as criterion, divides traditional aesthetics into three schemata, the authors thinks that, to a great extent, this is a rewrite of the given aesthetic history, and his’recount of aesthetic history’ cannot be underestimated. Badiou thinks that there are two kinds of relationships between art and truth, that is to say, the art could grasp the truth and the art could not grasp the truth. As for the idea that art who could grasp the truth, mainly presents as the romantic aesthetic schema, in this schema, the relation of truth to art is immanent, but this truth is universal, surpasses the arts, and chooses freely whether and which art it will open. On the basis of the classification principles and examples which Badiou holds, the author develops the analyses of romantic aesthetic schema, thinking that it could be divided into three types, they hold "Tao-Idea","being" and "prototype" respectively. As for the idea that art is incapable of truth, it is mainly divided into didactic aesthetic schema which represented by Plato, and classical aesthetic schema which represented by Aristotle. Badiou considers that the didactic aesthetic schema is incapable of truth, and it can only express the effects of truth and educate the mass. About how the arts express the effects of truth, on the foundation of the discussion of Badiou, the author separates the didactic aesthetic schema into two types:the type of straight-forwardness and the type of obscurity. In the point of classical aesthetic schema, art is incapable of truth, and it is not necessarily to pursue the truth, the function of art is abreaction and catharsis. This chapter mainly analyses the catharsis, psychoanalysis and sinicizational classical aesthetic schema which are extended from Badiou’s view. Through these above three traditional aesthetic schemata, Badiou summarizes effectively the relation between art and truth, however, the art in these three traditional aesthetic schemata is not independent, and they have been saturant already, and cannot explain the artistic creations at the present. Therefore, the "inaesthetics" is born.The third chapter explains the concept and the main features of "inaesthetics", and exploits its transcendence."Inaesthetics" schema emphasizes the independence of art to philosophy, maintains that the art is the producer of truth and against traditional aesthetic speculation, proposes to find the "intraphilosophical effects" in the arts with independent qualities. In this what Badiou calls the fourth aesthetic schema, art has its own high autonomy, it is not the vassal of truth anymore, but the condition of philosophy. This moment, art is capable of truth; the relation of truth to art is immanent, and truth that art produces has its own singularity. As the relation of truth to art, in "inaesthetics", the relation between artworks and truth is at once singular and immanent, but for the romantic aesthetic schema, the truth is immanent but not singular; in the didactic schema, the truth is singular but not immanent; in the classical schema, the truth is neither immanent nor singular. Hence, we can see the transcendences of "inaesthetics".The second part of this thesis is the theoretical part. This part investigates deeply the philosophical foundation of Badiou’s "inaesthetics", namely, the theory of truth and subject of Badiou, correspond with the chapter4and chapter5respectively.Chapter4researches on the truth theory of Badiou. In the first section mainly discusses the mathematics as the ontology, because the truth theory of Badiou integrates closely with mathematics. Badiou’s philosophy bases on the modern mathematics, he thinks that mathematics is the ontology and the science of being qua being. Badiou’s truth theory mainly originates the set theory of Cantor and Paul Cohen; he understands all the phenomenon and stats on the basis of set theory. Badiou thinks that the being qua being cannot be presented, hence, he proposes the conception of situation, and the situation is a presented multiplicity and also a presented being, which includes multiplicity, the regime of count-as-one or structure. Situation usually understood as the site which event happens. Through the difference between set and power set, the situation is divided into situation (structure) and situation stat by Badiou, he is thinking of these concepts from mathematics with putting them into the philosophical system and category. Section2discusses the event philosophy of Badiou and the realtion between event and truth. As for Badiou, not every happened thing could be called event, and event mainly existent in the event site, event site partly situated in the situation. Badiou calls the singular, instable and ab-normal multiple as event site. He also separates the being into normality, excrescence and singularity, and considers that the singularity which opposes the excrescent and normality is the natural essence of history, special the natural essence of event site. Event sitejs closely related to singularity of situation, namely, singular multiple. However, not every situation could include event site, therefore Badiou divides situation into natural situation, neutral situation and historical situation, only in the instable history situation, the event has its possibility to appear. Event is composed of a given event site and itself, it is the element that cannot appear in the situation but surpasses the count regime of the situation, although the event cannot be counted as one, but neither counted as zero, it manifests a posture of "ultra-one", concerns with the situation but surpasses it. All of above consists in the event with special characteristic. In the point of view, event is the starting point of truth. A truth is the gathering together of all the terms which will have been positively investigated by a generic procedure of fidelity supposed complete. A truth is the infinite subset of a situation, including endless traces. A truth is indiscernible:it does not fall under any determinant of the encyclopedia. He borrows the terms of Lacan:a truth bores a hole in knowledge. Badiou emphasizes that a truth is the truth of the entire situation, and the truth of situation as being. Section3 explores the generative procedure of truth. Badiou proposes that there are four types of truth generative procedures, that is to say, politics, art, science and love. He considers that a truth of art is immanent and singular, finally, it is a art configure, a generic multiple and un unnamable. An art truth is initiated by an art event, but not every artwork could become as an event.Chapter5primarily discusses the subject theory of Alain Badiou. Badiou thinks that there exist two types of traditional subject theories, that is to say, idealist subject theory and materialist subject theory. Different from the material subjective paradigm that reduces the subject to its body, idealist subjective paradigm separates the subject from its body completely, the former one equals to the religious sacrifice, and the later one belongs to vulgar enjoyment. Badiou considers that the world of today is the war between enjoyment and sacrifice, but they all direct to death; therefore, he proposes the third subject paradigm. In this new subjective paradigm, the subject and its body has a immanent difference, neither separability nor reducibility, these two combine together, but also keep their own features. What Badiou gives is a new body as the combination of these two elements. Badiou advocates the faithful subject and opposes the obscure subject and reaction subject. He remarks that the subject is the configuration that beyond the situation, but the combination of subject and its body makes it also can appear in the situation. Badiou understands that the subject situates in the trajectory of the production of truth, who sits between the event and truth, so the subject must be faithful and faithful to event. Badiou also thinks that the subject has the characteristics as instant and a consistent; hence, he divides the subject into a subjectivation and a subject-process. A subjectivation is destructive and instantaneous, which indicates that the emergence moment of subject in a situation, connecting with interruption, it could be divided into two different forms—anxiety and courage, mainly present as riot-movement and insurrection-war respectively. A subject-process is a recomposition after the deconstruction, which is enduring, and its aim is the recomposition of the situation at that moment, it is direct into superego and justice. Superego is a horrible subject process and conservative. In the opinion of Badiou, the different associations of the anxiety and courage, superego and justice could constitute different types and functions of the subject. The third part of the thesis is the practice part, namely, the chapter6. In this part, we discuss the "inaesthetic" critical practices of Alain Badiou. At first, mainly introduces Badiou’s thoughts about contemporary arts. In his heart, through the sensibility, the art constructs a new universality, and it is different from the universality caused by money, power and globalization, and artistic truth is also different from the truth produced by science, politics and love, which brings with the feature of sensibility. Artistic truth is the sudden occurrence of idea in the sensibility. The new universality of art is a new formal creation of sudden occurrence of idea in the sensibility. An art is a possibility, a force with creativeness and rebellion and liberation. Badiou hopes to create a new artistic subject, which isneither an "enjoyment" nor a "sacrifice", artistic subject leads to a creation, but not a death. Thesubject of art is not artists, its existence is artworks. Badiou considers the contemporary art as an"empire art", which presents as "the mixture of romanticism and formalism". After the summarizationof Badiou’s thoughts about art, the author takes Mallarme’s poems and Wagner’s music as exampleand explores concretely the practice stats of poetic criticism and musical criticism of Alain Badiou.His poetic critical strategies could be divided into three steps:firstly, he drags the normal poetics fromits given situation; then he uses the form of prose to describe the poem as an act process; finally, heputs it from the prose state back to the poem and experiences its real meaning. He believes thatMallarme’s poem is an artistic event, achieves an event site in the void of text, and walks on the roadto the truth generative procedure. The interpretation of Badiou towards Wagner’s music is totallydifferent from that of Nietzsche, Adorno and Lacoue-Labarthe, he thinks that Wagner’s music has norelation with the fascism and culture industry; on the contrary, Wagner’s opera is a great art in hismind, and it is an art event that can produce the truth and embody a faithful of a new artistic subject. The conclusion concerns about three questions. Firstly, as a Platonist, Badiou is alwaysmisunderstood as traditional and conservative, but he is not a traditional Platonist, but realizing thereturn and transcendence of Plato. Then, Ranciere accounts that Badiou is a twisted modernist, in fact,he is a thinker after post-modern, achieves the double surpassing of modern and post-modern. At last,illustrates the meaning and a prospect of Badiou’s thought, he almost finishes the mission of doublerecompostion of philosophy and aesthetics that Nietzsche, Foucault and Derrida did not complete intheir old ages.更多还原