美在生成：时间美学导论

【作者】 傅松雪；

【导师】 夏之放；

【作者基本信息】 山东师范大学 ， 文艺学， 2007， 博士

【摘要】 时间是一个与人类文明演进、文化发展始终相纠缠的历史疑难问题。时间渗透在人类生活的角角落落,人人知道,却人人费解。有史以来,人们对时间刨根问底的热情和兴趣丝毫没有减弱,“时间”问题更是近现代西方哲学最为重要的核心问题。海德格尔将时间与存在联系起来,从时间方面来领会和解释存在,对于西方的哲学思想而言,是划时代的。将时间因素引入哲学,海德格尔几乎颠覆或超越了西方整个形而上学的哲学传统,同时也更新或推进了数千年来人们对于时间的理解。海德格尔断称,时间是一切存在领会的境域,是最原始的存在解释的境域。本文以“时间美学”为主题,主要意图为在海德格尔存在论时间理论的基础之上,将“美”置放于时间这一境域中加以运思,以期追问出美的本源及其时间性特征:美在生成。全文分为上下两编,包括五章内容。上编主要论述海德格尔的时间美学理论,重点研究美、审美的时间性,分为三章:第一章从阐释海德格尔的存在论时间理论入手,重点解读海德格尔关于“此在”、“时间”、“时间性”的概念及其关系。文章认为,海德格尔毕生都在追问存在的意义,存在总是存在者的存在,对存在的追问需从此在的存在分析出发,而时间性构成了此在的存在,因而,时间性必然成为存在之领悟的境域。时间性作为源始的、自在自为“出离自身”的、本真的时间现象,不同于通常理解的时间概念,我们必须通过绽出,而不是通过对固定属性的描述,来了解时间性。本真的时间性是时间的源头,通常的时间概念源于被敉平的时间性,时间是时间性的。人作为此在在时间中,并不等于人作为存在者被置入时间之流,而意味着此在源始地就是时间性,并由此引出此在的有限性与超越性时间性结构,这种结构进一步使得世界世界化及对存在的领悟成为可能,从而得出本真的时间性作为此在本真存在状态的缘构生成境域的结论。第二章着眼于缘构生成的时间境域,集中探讨审美状态的时间性生成、时间性的审美生成及时间审美化的呈现形态。文章首先认为,“时间性”思想为探寻美、审美的本源开启了构成化的境域,审美只有放在时间性的境域中加以考察,才能回归至本源状态,揭示其本质。通过对审美状态的时间性生成的现象学描述,标识出时间中审美的特性:陶醉的到时与美的显-现及审美的非现成识度。其次,探讨了此在的本真存在、先验想象力与时间性的关系,由此揭示出时间性作为此在审美生成之域而呈现出的外在化的审美形态:静态化、空间化与想象力。第三章则集中考察了艺术作品对于时间的艺术化处理方式及其产生的艺术效果,分别从时间的当前化超越、时间的有限性显隐及时间的境域化回归三个方面深层次地挖掘了各种艺术中或隐或显的时间因素,并由此出发,在时间性的运思中展示艺术中时间审美化的艺术魅力或艺术魅力的时间性根源。下编从史的角度梳理了时间视域中中西美学的时间性现象及其规律,重点考察美学的时间性,从而描绘出中西方“美在生成”思想演进的历史图景,分为两章:第四章在时间视野的观照下,对西方美学的历史演进进行了粗线条的勾勒,目的在于发现时间性的缺失对于美学理论研究的局限性,揭示出将时间引入美学理论研究的历史必然性和逻辑必要性。文章首先概述了西方哲学史上时间概念的演变,从中可以看出时间理论研究的形而上学构架及其在生存论-存在论意义上的断裂与脱节。其次,文章分传统美学与20世纪美学两部分分别对西方美学史上重要的美学理论进行了时间性的考察,从而归纳出传统美学由于形而上学的哲学基础所造成的美(本体)无时间性的特点,揭示出由于时间的引入20世纪美学理论所发生的巨变及发展趋势,从“美是什么”走向“如何是美”正成为今天西方美学研究的最重要的转换。第五章在海德格尔时间思想的启发与对照下,以孔子代表的儒家、老庄代表的道家和南禅代表的佛学为例,进行了有关中国古典美学美在生成思想的本质探源。文章从儒、道、禅本身的美学思想出发,在对原典文本进行细读与深思的基础上,敞现出各自本己的时间性特征:孔子美学“与时偕行”的境域化、道家美学“与时俱化”的时机化以及禅宗美学“与时皆空”的瞬间化,从而彰显出中国古典美学的独特的意蕴。一直以来,时间问题就是一个纠缠不清的难题,因而围绕时间美学所做的工作尽管格外努力却仍收效甚微。本文仅仅是运用海德格尔存在论时间理论将美、美学置于时间性的构成境域里所做的初步性考察,大量的、卓有成效的、却更加艰难的研究尚待继续,故名曰导论。更多还原

【Abstract】 As a historical puzzle, time has always been entangling the evolution of human civilization and culture development. Despite the overwhelming penetration throughout human life, it remains inexplicable, even though everybody is aware of it. Beyond the memory of men, the enthusiasm and interest in tracing what time never weakens. Moreover, it stands as the core issue in neoteric and modern times. By associating time with being to understand and explain what existence is, Heidegger opened a new epoch in western philosophy. With time involved in philosophy, he almost overthrew, or exceeded the overwhelming metaphysical tradition in western philosophy. Meanwhile, he renewed or promoted men’s consciousness of time for thousands of years. As Heidegger confirmed, time is the Horizont for being and the primitive Horizont where being is explained. With the theme of Time Aesthetics and based on Heidegger’s ontology time theory, this article aims to place aesthetics in the Horizont of time for operation to explore the origin of aesthetics and its Zeitlichkeit feature.The article consists of five chapters in two volumes.Volume I describe Time Aesthetics theory of Heidegger and divide into three chapters, with a focus on research of beautifulness and aesthetic Zeitlichkeit.Chapter One is preceded with explanation of Heidegger’s ontology time theory, and mainly unscrambles such concepts as Dasein, time and Zeitlichkeit and their relationship. In this chapter, Heidegger devoted the whole life exploring the issue of being, according to which existence is always for its presence and seek of existence shall start from existence analysis of Dasein. As Zeitlichkeit constitutes Dasein existence, Zeitlichkeit is consequentially the Horizont to understand being. As an original, the Aussersich and eigentlich time phenomenon, Zeitlichkeit is different from general understanding of time. Therefore, we must try to understand Zeitlichkeit by means of Ekstase rather than through description on fixed attribute. Eigentlich Zeitlichkeit is the source of time, and general concept of time derives from intratemporality. As is said, Die Zeit ist zeitlich. Men as Dasein in time is unequal to men as essence of existence in time flow, instead, it means that source of Dasein is Zeitlichkeit, from which the structure of Dasein finity and exceeding Zeitlichkeit is derived. With such a structure, the world further globalizes and the apperception of existence is made available. That is how it is concluded that eigentlich Zeitlichkeit, as Ereignis of eigentlich Temporality, generate Horizont.Chapter Two concentrates on Ereignis Horizont, with a focus on Zeitlichkeit making of aesthetic state, Zeitlichkeit aesthetic generation and display of aesthetic in the view of time aesthetic trend. Firstly, it is believed that Zeitlichkeit opened a constitutional Horizont in seeking beautifulness and aesthetics. By being placed and studied in Zeitlichkeit Horizont aesthetics can be restored its origin status and its nature be explored. Through phenomenology description of Zeitlichkeit making of aesthetics state,aesthetics features in the view of time can be labeled- inebriation delivery, aesthetic attendance and unpreparedness degree. Secondly, the relation between Dasein eigentlich existence, apriorism imagination and Zeitlichkeit is discussed in this chapter, following which externalized aesthetic state Zeitlichkeit displays as Horizont where aesthetics is created: static state, dimension and imagination.The third chapter investigates means of art work processing time in an artistic way and the effect, excavates the role of time, both dormant and apparent, in current transcending, limited dormancy and Horizont return of time. Based on this, the charm of arts or its Zeitlichkeit origin is shown in Zeitlichkeit operation.Volume II reviews Zeitlichkeit phenomenon and its rule in domestic and overseas aesthetics in the perspective of history. It divides into two chapters and mainly focuses on aesthetics Zeitlichkeit.Against the background of time vision, the fourth chapter outlines the evolution of western aesthetics, aiming to find out limitation on aesthetic studies by loss of Zelichkeit and discover the historic necessity and logical inevitability to introduce time to aesthetics theory study. First of all, the chapter summarizes the evolution of the concept of time in western philosophy history, from which rupture and incontinuity of metaphysics structure and its survivorship theory can be observed. Secondly, the article studies the Zeitlichkeit of the important aesthetics theories in western aesthetics history in light of traditional and twenty-century aesthetics, therefore concludes that beautifulness has no Zeitlichkeit due to the metaphysical basis. By discovering the upheaval in twenty-century aesthetics and its development tendency, it has become the most important shift of western aesthetics study from‘what beautifulness is’to‘how to define beautifulness’.Enlightened by and in comparison with Heidegger’s thought of time, Chapter Five adopts Confucianism, Taoism and Buddhism as examples, represented respectively by Confucius, Laozi and Zhuangzi as well as Nanchan, to study Zeitlichkeit features of Chinese classical aesthetics. Based on the aesthetic thought of Confucianism, Taoism and Buddhism and through intensive study and thoughtful speculation on original texts, Zeitlichkeit features of their own are discovered: the Horizont of‘going with time’in Confucius aesthetics, the occasionalism of‘changing with time’in Taoism aesthetics and the instantaneity of‘emptiness with time’in Buddhism aesthetics. From all of the above, the unique implication of Chinese classical aesthetics is revealed.The issue of time has been remaining a puzzle, and the effort exercised on time aesthetics, though tremendous, still yields little. This article makes a preliminary study by placing beautifulness and aesthetics in Zeitlichkeit Horizont through Heidegger ontology time theory. Yet, a lot more fruitful and difficult researches are to be done. That is why this article is titled‘Introduction’.更多还原