本文選題：伊格爾頓 + 身體�。� 參考：《揚(yáng)州大學(xué)》2016年博士論文

【摘要】：特里·伊格爾頓(Terry Eagleton,1943-)是當(dāng)代西方杰出的馬克思主義文學(xué)理論家和文化批評(píng)家,這位與德國(guó)的哈貝馬斯和美國(guó)的詹姆遜并稱(chēng)西方馬克思主義理論界三巨頭的英國(guó)人,對(duì)理論體系的關(guān)注與建構(gòu),都是與人的解放聯(lián)系在一起的,身體話(huà)語(yǔ)理論也不例外。身體話(huà)語(yǔ)是貫穿伊格爾頓理論體系的一條重要線(xiàn)索。1960年代末,他開(kāi)始關(guān)注資本主義制度下被壓迫、饑餓和勞動(dòng)的身體。1990年在專(zhuān)著《美學(xué)意識(shí)形態(tài)》一書(shū)中,他正式提出以身體為名、重建馬克思主義美學(xué)的可能性,該書(shū)試圖以身體美學(xué)來(lái)闡釋身體倫理學(xué),實(shí)現(xiàn)其“政治化之愛(ài)”。2000年的《文化的觀(guān)念》一書(shū)則著重探究一種自然與文化辯證統(tǒng)一于身體的觀(guān)念,并分析在共同文化觀(guān)念下身體被解放的可能。此后出版的《甜蜜的暴力——悲劇的觀(guān)念》一書(shū)又將悲劇中的身體作為研究對(duì)象,剖析悲劇的現(xiàn)代性根源。作為堅(jiān)定的馬克思主義者,伊格爾頓關(guān)注的是勞動(dòng)的、饑餓的和革命的身體,堅(jiān)決抵制后現(xiàn)代色情的、交歡的和娛樂(lè)的身體。因此,他的身體話(huà)語(yǔ)理論是有關(guān)身體異化與反異化的解放理論,是交織著倫理學(xué)、美學(xué)和政治學(xué)的倫理話(huà)語(yǔ)。這種身體話(huà)語(yǔ)旨在尋求重新建構(gòu)一種自然與文化辯證統(tǒng)一的身體觀(guān)念,實(shí)現(xiàn)人的解放和自由,達(dá)到人的主客觀(guān)統(tǒng)一、精神與肉體和諧、審美化的生存狀態(tài)。除了緒論和結(jié)語(yǔ),論文主體部分共分五章。第一章從分析身體話(huà)語(yǔ)的嬗變及伊格爾頓對(duì)后現(xiàn)代身體話(huà)語(yǔ)的批判入手,切入其身體話(huà)語(yǔ)理論。論文首先梳理了從古希臘到后現(xiàn)代時(shí)期身體從缺席到出場(chǎng)再到主場(chǎng)的哲學(xué)嬗變,在此過(guò)程中,身體話(huà)語(yǔ)完成了由“意識(shí)本體論”向“身體本體論”的轉(zhuǎn)換,并開(kāi)啟了后現(xiàn)代語(yǔ)境下身體話(huà)語(yǔ)的狂歡序幕和文化轉(zhuǎn)向。對(duì)于身體的文化轉(zhuǎn)向,伊格爾頓把原因歸結(jié)于后現(xiàn)代主義對(duì)宏大敘事的回避。他尖銳地批判了后現(xiàn)代主義的“新身體學(xué)”:它們或者將身體視為文化建構(gòu)的對(duì)象,或者使身體淪落為當(dāng)代的犬儒主義。無(wú)論哪一種身體觀(guān),都是被異化的身體。伊格爾頓肯定后現(xiàn)代主義在反抗意識(shí)形態(tài)過(guò)程中對(duì)身體的解放,但后現(xiàn)代主義沒(méi)能抵擋住商品社會(huì)消費(fèi)主義的侵蝕,自身也被意識(shí)形態(tài)化,成為“無(wú)主體”的物質(zhì)性存在。這樣主體掙脫了身體的限制,成為絕對(duì)自由的意志,導(dǎo)致倫理道德體系的崩塌。所以,只有重回馬克思主義的宏大敘事,才能挽救后現(xiàn)代主義本質(zhì)主義的匱乏,實(shí)現(xiàn)人的解放和自由。第二章闡述美學(xué)意識(shí)形態(tài)中的身體話(huà)語(yǔ)。這一章首先剖析伊格爾頓的意識(shí)形態(tài)思想;其次分析美學(xué)與意識(shí)形態(tài)的關(guān)系;最后論述伊格爾頓如何以勞動(dòng)的身體重建唯物主義美學(xué)。在伊格爾頓看來(lái),鮑姆嘉登開(kāi)創(chuàng)的美學(xué)自誕生起就具有意識(shí)形態(tài)性,服務(wù)于統(tǒng)治階級(jí)的現(xiàn)實(shí)需要。但由于美學(xué)的自律性,它又常常形成對(duì)意識(shí)形態(tài)的挑戰(zhàn)。伊格爾頓試圖以美學(xué)為中介范疇,把肉體的觀(guān)念與國(guó)家、階級(jí)矛盾和生產(chǎn)方式這樣一些更為傳統(tǒng)的政治主體聯(lián)結(jié)起來(lái)。這樣身體作為意識(shí)形態(tài)的物質(zhì)載體,就不再是生物學(xué)意義上的各個(gè)器官的有機(jī)體,而是各種權(quán)力話(huà)語(yǔ)的策源地,有著更深層的指涉。通過(guò)對(duì)美學(xué)史的詳盡考察,伊格爾頓進(jìn)而探討以勞動(dòng)的身體為起點(diǎn)重建唯物主義美學(xué)的可能性,以此使美學(xué)真正回歸到人的身體和欲望。他認(rèn)為,感性主體的恢復(fù)實(shí)則是勞動(dòng)實(shí)踐中人的需要、能力、愉悅、生產(chǎn)力等得以滿(mǎn)足和全面展開(kāi)的進(jìn)程。所以,自由而無(wú)功利的生活就是審美的生活,人的本質(zhì)力量的實(shí)現(xiàn)就是美好生活的開(kāi)端。第三章論述伊格爾頓文化觀(guān)念中的身體話(huà)語(yǔ)。這一部分首先介紹伊格爾頓對(duì)文化的意義和危機(jī)的分析,他認(rèn)為隨著資本主義的全球擴(kuò)散、左派斗爭(zhēng)的偃旗息鼓,現(xiàn)實(shí)的政治斗爭(zhēng)投射到文化領(lǐng)域,出現(xiàn)了“政治化的文化向文化政治轉(zhuǎn)移”的現(xiàn)象,文化成了政治斗爭(zhēng)的場(chǎng)域。與此同時(shí),一切都變得與文化有關(guān)。文化一方面似乎無(wú)所不能,另一方面又因?yàn)E用而無(wú)足輕重。不管是把文化當(dāng)作政治的替代物,還是文化自身的庸俗化、娛樂(lè)化,都必然導(dǎo)致文化的深層次危機(jī)。正是文化理論的迷失,激起伊格爾頓重塑共同文化觀(guān)念的決心。伊格爾頓認(rèn)為文化與自然是辯證統(tǒng)一于身體的。文化一方面內(nèi)置于身體,是身體的有機(jī)組成部分,另一方面又拉開(kāi)了人與自然存在之間的距離,并將人從感性肉身提升到令人愉悅的符號(hào)生命。為此,伊格爾頓倡導(dǎo)以身體為基礎(chǔ)走向一種共同文化的觀(guān)念。這種觀(guān)念是一個(gè)共享意義和活動(dòng)的網(wǎng)絡(luò),由所有成員共同參與、共同創(chuàng)造,它是一種平等的、自覺(jué)的和無(wú)意識(shí)的文化觀(guān)念,從而根本上解決了資本主義文化的危機(jī)。與此同時(shí),由于這種共同文化觀(guān)念強(qiáng)調(diào)身體所具有的普遍性的生物性基礎(chǔ),共同人性因此而產(chǎn)生。由于源自于天性、不具有意識(shí)形態(tài)性,使得人們能夠相互同情,彼此關(guān)愛(ài),互助互利。這正是伊格爾頓身體話(huà)語(yǔ)的倫理基礎(chǔ),是對(duì)抗后現(xiàn)代主義病毒的一劑良藥。第四章闡述伊格爾頓悲劇觀(guān)念中的身體話(huà)語(yǔ)。這一部分首先分析了伊格爾頓的悲劇觀(guān)。在他看來(lái),“極端痛苦之價(jià)值”是悲劇所擁有的共同基礎(chǔ)。悲劇可以指向藝術(shù)品、現(xiàn)實(shí)生活事件、世界觀(guān)或情感結(jié)構(gòu),只要能夠讓人感覺(jué)“極端痛苦之價(jià)值”,都可視為悲劇。根據(jù)伊格爾頓的觀(guān)點(diǎn),邪惡是造成現(xiàn)代性悲劇的主要原因。伊格爾頓區(qū)分了邪惡的雙重面向,一方面崇尚絕對(duì)意志,試圖擺脫和超越人類(lèi)的一切有限和缺憾,另一方面則顯示了無(wú)價(jià)值的空虛和“存在感的匱乏”。與最早探討兩種邪惡的阿倫特不同,伊格爾頓更深層次地將邪惡與絕對(duì)自由相聯(lián)結(jié),從而挖掘出邪惡的現(xiàn)代性根源。人們以追求自由為名,試圖掙脫內(nèi)在、外在的種種束縛,沖擊原有的有限性,必然難以控制地走向反面。正是對(duì)現(xiàn)代自由的絕對(duì)追求導(dǎo)致現(xiàn)代性主體的失落,使其淪為完全的虛空,從而滋養(yǎng)和釋放出邪惡。重塑人的主體性,倡導(dǎo)人的道德自覺(jué),是消解后現(xiàn)代本質(zhì)主義匱乏的根本之道。不過(guò),伊格爾頓也指出,作為悲劇中的“替罪羊”,邪惡的身體也會(huì)成為革命的動(dòng)力和翻轉(zhuǎn)歷史的希望,這是他論述悲劇的意義所在。最后,伊格爾頓提出痛苦的身體是悲劇中唯一的身體。他認(rèn)為苦難不具有意識(shí)形態(tài)的可塑性,所以痛苦的身體是不具有意識(shí)形態(tài)性的。通過(guò)對(duì)憐憫和恐懼兩種機(jī)制的重新闡述,伊格爾頓總結(jié)了悲劇的七種審美快感,并將其歸為亞里士多德凈化理論的核心內(nèi)涵。在前面四章的基礎(chǔ)上,論文第五部分進(jìn)而探究隱藏在伊格爾頓身體話(huà)語(yǔ)背后的邏輯線(xiàn)條,這一章同時(shí)也是對(duì)伊格爾頓身體話(huà)語(yǔ)理論的總結(jié)。本文認(rèn)為伊格爾頓對(duì)身體的論述大體上遵循了“基礎(chǔ)-批判-建構(gòu)”的敘事邏輯。他以馬克思勞動(dòng)的身體、尼采權(quán)力的身體、弗洛伊德欲望的身體為基礎(chǔ),在批判了后現(xiàn)代主義的“新身體學(xué)”、邪惡的身體和意識(shí)形態(tài)的身體后,認(rèn)為應(yīng)該重新建構(gòu)一種文化與自然辯證統(tǒng)一于身體的觀(guān)念。他認(rèn)為,只有這樣一種身體觀(guān)念,才能實(shí)現(xiàn)身體的自由和解放,社會(huì)主義的新主體也才能建立,這里鮮明地體現(xiàn)了伊格爾頓堅(jiān)定的馬克思主義觀(guān)。論文結(jié)語(yǔ)部分指出了伊格爾頓身體話(huà)語(yǔ)理論的價(jià)值及其存在的缺陷。
[Abstract]:Terry Eagleton (Terry Eagleton, 1943-) is an outstanding Marx literary theorist and cultural critic of contemporary western. The British who, with Habermas and Jameson in the United States, and called the three giants of the western Marx theory circle, are linked to the liberation of the theory system. Body discourse is no exception. Body discourse is an important clue that runs through the system of Eagleton's theory at the end of.1960. He began to pay attention to the oppression, hunger and labor under the capitalist system in the book of the monograph < Aesthetic Ideology > in.1990. He formally proposed the possibility of reconstructing Marx's aesthetics in the name of the body. The book tries to interpret body ethics by body aesthetics to realize his "political love", "the concept of culture" in.2000, which focuses on the idea of the dialectical unity of nature and culture and the possibility of the liberation of the body under the common cultural concept. The book also takes the body of the tragedy as the object of study and analyzes the root of the modernity of the tragedy. As a firm Marx, Eagleton pays attention to labor, hunger and revolutionary bodies, resolutely resists postmodern pornography, and entertain and entertain the body. Therefore, his body discourse theory is about body alienation and dissimilation. The theory of emancipation is the ethical discourse interwoven with ethics, aesthetics and politics. This kind of body discourse aims to seek to reconstruct the dialectical unity of nature and culture, to realize the liberation and freedom of human beings, to achieve the unity of the subjective and objective of human beings, the harmony between the spirit and the body, and the living state of the aestheticization, in addition to the introduction and conclusion, the subject of the thesis. The part is divided into five chapters. The first chapter begins with the analysis of the evolution of body discourse and Eagleton's critique of postmodern body discourse. It begins with his body discourse theory. Firstly, the thesis combs the philosophical transmutation from the absence of the ancient Greek to the postmodern period, from the absence of the body to the home. In this process, the body discourse has completed the "consciousness noumenon". The transformation of "body ontology" and the opening of the prelude and cultural turn of body discourse in the post-modern context. For the cultural turn of the body, Eagleton attributed the reason to the avoidance of the grand narrative by postmodernism. He critically criticized the postmodernist "new body science": they or the body as the text. The object of construction or the degenerate cynicism of the modern body. No matter what kind of body view, it is the alienated body. Eagleton affirms the liberation of the body in the process of resisting the ideology, but the postmodernism can not resist the erosion of the consumerism of the commodity society and its own ideology. The material existence of "no subject", so the subject broke free from the body's restriction, became the will of absolute freedom and led to the collapse of the ethical and moral system. So, only by returning to the grand narrative of Marx's doctrine, can we save the lack of postmodernism essentialism and realize human liberation and freedom. The second chapter expounds the aesthetic ideology. This chapter first analyzes Eagleton's ideological thought; secondly, it analyzes the relationship between aesthetics and ideology, and finally discusses how Eagleton reconstructs materialist aesthetics with the body of labor. In Eagleton's view, Baum Garden's creation of aesthetics is ideological and serves the ruling class. But because of the self-discipline of aesthetics, it often forms a challenge to ideology. Eagleton tries to combine the sense of the body with some more traditional political bodies such as state, class contradiction, and production way. So the body is no longer a biological carrier of ideology as a material carrier of ideology. The organism of every organ in the sense, but the origin of various power discourse, has a deeper meaning. Through a thorough investigation of the history of aesthetics, Eagleton further explores the possibility of rebuilding materialist aesthetics with the body of labor as a starting point, so that aesthetics is truly returned to the human body and desire. Recovery is the process of human needs, ability, pleasure and productivity in the labor practice. So, free and unutilitarian life is an aesthetic life, the realization of the essence of human being is the beginning of a beautiful life. The third chapter discusses the body discourse in Eagleton's cultural concept. This part is first introduced. In Eagleton's analysis of the significance and crisis of culture, he believed that with the global spread of capitalism, the struggle of the leftists, the realistic political struggle was projected into the cultural field, the phenomenon of "political culture to cultural and political transfer" appeared, and culture became the field of political struggle. At the same time, everything became cultural. On the one hand, culture seems to be omnipotent, and on the other hand it is insignificant because of abuse. Whether it is culture as a substitute for politics, or the vulgarization of culture itself and entertainment, it will inevitably lead to the deep crisis of culture. It is the loss of cultural theory and the determination of Eagleton to reshape the common cultural concept. Eagleton Culture and nature are dialectical unity. On the one hand, culture is built in the body, is an organic part of the body. On the other hand, it opens the distance between human and nature, and raises people from the emotional body to the pleasing symbolic life. Therefore, Eagleton advocates a common culture based on the body. This concept is a network of shared meaning and activity that is shared by all members and created together. It is an equal, conscious and unconscious cultural concept that fundamentally solves the crisis in the capitalist culture. At the same time, this common cultural concept emphasizes the universality of the body. This is the basis of Eagleton's body discourse and a good medicine against the post modernist virus. The fourth chapter describes the body discourse in Eagleton's tragic concept. Part of the first part analyses Eagleton's view of tragedy. In his view, "the value of extreme pain" is the common basis of tragedy. Tragedies can be directed to works of art, real life events, world outlook or emotional structure, which can be regarded as tragedies as long as they can feel "the value of extreme pain". According to Eagleton's point of view, evil. Evil is the main cause of the tragedy of modernity. Eagleton distinguishes the double face of evil. On the one hand, it advocates absolute will, tries to get rid of and surpass all human limitations and shortcomings. On the other hand, it shows the empty emptiness and the "lack of existence". Unlike the first to explore the two evil Ahrendt, Eagleton is more. In depth, the evil and the absolute freedom are joined together to excavate the root of the evil modernity. In the name of the pursuit of freedom, people try to get rid of the internal and external constraints and impact the original finiteness, which inevitably leads to the reverse. It is the absolute pursuit of modern freedom that leads to the loss of the subject of modernity and makes it complete. The void, thus nourishing and releasing evil, reinventing the subjectivity of human beings and advocating the moral consciousness of human beings, is the fundamental way to dispel the lack of post-modern essentialism. However, Eagleton also points out that as a "scapegoat" in tragedy, the evil body will also become the motive force of revolution and the hope of turning over the history, which is the meaning of his discussion of tragedy. In the end, Eagleton suggests that the body of pain is the only body in tragedy. He thinks that suffering is not ideologically pliable, so the body of pain is not ideological. Through the reexposition of two mechanisms of pity and fear, Eagleton summed up the seven aesthetic pleasures of tragedy and classified it as substandard. On the basis of the first four chapters, the fifth part of the thesis explores the logical lines hidden behind Eagleton's body discourse. This chapter is also a summary of Eagleton's body discourse theory. This article holds that Eagleton's discussion on the body generally follows the "foundation critical construction". On the basis of the body of Marx's labor, the body of Nietzsche power, the body of Freud's desire, he criticized the postmodernist "new body science", the body and the body of the evil body and ideology, and thought that it should be rebuilt by the dialectical unity of the body with the nature of culture and nature. In order to realize the freedom and liberation of the body, the new body of socialism can also be established. This is a clear embodiment of Eagleton's firm Marx view. The conclusion of the thesis points out the value of Eagleton's body discourse theory and the lack of its existence.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：I01
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本文編號(hào)：1928613