楊春時(shí)“主體間性超越”美學(xué)理論研究
發(fā)布時(shí)間：2019-04-21 20:02
【摘要】：楊春時(shí)先生是中國(guó)當(dāng)代頗具影響力的一位美學(xué)家。在與李澤厚為代表的實(shí)踐美學(xué)的論爭(zhēng)中,楊春時(shí)先生不斷推進(jìn)自己的美學(xué)思考,并最終建構(gòu)起了由他自己所命名的“主體間性超越”美學(xué)理論,為當(dāng)代中國(guó)美學(xué)基礎(chǔ)理論的研究作出了積極貢獻(xiàn)。楊春時(shí)先生最初是以“超越實(shí)踐美學(xué)”、“走向后實(shí)踐美學(xué)”等學(xué)術(shù)主張?jiān)诿缹W(xué)界嶄露頭角的。在后實(shí)踐美學(xué)家族中,他獨(dú)樹一幟地倡導(dǎo)超越美學(xué),追尋生存的自由。此后,他發(fā)現(xiàn)實(shí)踐美學(xué)過(guò)于強(qiáng)調(diào)主體性,這使得自由和美難以顯現(xiàn),于是他又自覺(jué)建構(gòu)其審美主體間性理論。隨著研究的進(jìn)一步展開,楊春時(shí)發(fā)現(xiàn)超越美學(xué)還是建立在生存論而非存在論基礎(chǔ)之上,而主體間性缺乏存在論的證明也無(wú)法最終實(shí)現(xiàn)對(duì)實(shí)踐美學(xué)的超越,楊春時(shí)由此重視存在論和現(xiàn)象學(xué)的同一。在他看來(lái),現(xiàn)代哲學(xué)的兩大系統(tǒng)即存在論和現(xiàn)象學(xué)需要打通,如此才可以實(shí)現(xiàn)審美的超越性和主體間性,同時(shí)才可能建構(gòu)名副其實(shí)的后實(shí)踐美學(xué),并最終實(shí)現(xiàn)美學(xué)作為“第一哲學(xué)”的夙愿。不妨說(shuō),美學(xué)作為“第一哲學(xué)”也是“第一哲學(xué)”自身的夙愿,因?yàn)榇嬖�、現(xiàn)象只有在美學(xué)中才是可能的。具體而言,楊春時(shí)為審美奠定了存在論的基礎(chǔ),認(rèn)為存在作為生存的依據(jù),具有同一性和本真性,是我與世界的共在,并由此推導(dǎo)出審美的超越性和主體間性。審美的超越性克服了現(xiàn)實(shí)生存的異化,由此到達(dá)自由的境界,并恢復(fù)存在的本真性;審美的主體間性則可以恢復(fù)存在的同一性。超越、主體間性的審美之境如何可能呢?楊春時(shí)認(rèn)為除了要把世界存在論化,還需要將存在論與現(xiàn)象學(xué)關(guān)聯(lián)起來(lái)。依其之見(jiàn),存在論只有在現(xiàn)象學(xué)視域中才有可能,因?yàn)楝F(xiàn)象學(xué)讓世界世界化的同時(shí),也就讓現(xiàn)象成為存在的顯現(xiàn),而現(xiàn)象成為存在的顯現(xiàn)之時(shí),現(xiàn)象也就不是存在者的呈現(xiàn)。生存的超越也因此有了存在論的依據(jù),主體間性也就從認(rèn)識(shí)論走向了存在論。就此而言,“主體間性的超越”美學(xué)只有進(jìn)入現(xiàn)象學(xué)視域才能夠獲得,楊春時(shí)因此認(rèn)為美學(xué)乃現(xiàn)象學(xué)與存在論的同一。楊春時(shí)先生的“主體間性超越”美學(xué)理論推動(dòng)了實(shí)踐論美學(xué)的自我發(fā)展,諸如新實(shí)踐美學(xué)、實(shí)踐存在論美學(xué)的建構(gòu)無(wú)疑都直接或間接地受到了他的影響,因此不可否認(rèn)其美學(xué)的基礎(chǔ)理論價(jià)值和學(xué)術(shù)史意義。同時(shí),由于“主體間性超越”美學(xué)理論溝通了現(xiàn)象學(xué)與存在論,可謂在新的存在論基礎(chǔ)上構(gòu)建了現(xiàn)代形而上學(xué),這為克服現(xiàn)代社會(huì)可能出現(xiàn)的意義虛無(wú)等弊病提供了救贖可能。
[Abstract]:Mr. Yang Chunshi is an influential aesthetician in contemporary China. In the controversy with Li Zehou's practical aesthetics, Mr. Yang Chunshi constantly promoted his aesthetic thinking, and finally constructed his own aesthetic theory of "inter-subjectivity transcendence", which he named as "inter-subjectivity transcendence". It has made a positive contribution to the study of the basic theory of contemporary Chinese aesthetics. At first, Yang Chunshi came to the fore in the field of aesthetics with such academic ideas as "transcending practical aesthetics" and "moving towards post-practical aesthetics". In the family of post-practical aesthetics, he advocated transcending aesthetics and pursuing the freedom of existence. After that, he found that practical aesthetics emphasized too much subjectivity, which made freedom and beauty difficult to manifest, so he consciously constructed his theory of inter-subjectivity. With the further development of the research, Yang Chunshi found that transcendental aesthetics was still based on existentialism rather than existentialism, and the lack of existential proof of intersubjectivity could not finally achieve the transcendence of practical aesthetics. Yang Chunshi attached great importance to the identity of existentialism and phenomenology. In his view, the two major systems of modern philosophy, namely, existentialism and phenomenology, need to be connected in order to realize the transcendence and intersubjectivity of aesthetics, and at the same time to construct the real post-practical aesthetics. And finally realize aesthetics as the "first philosophy" long-cherished wish. It can be said that aesthetics, as the first philosophy, is also the long-cherished wish of the first philosophy, because the phenomenon is only possible in aesthetics. Specifically, Yang Chunshi laid the foundation of existential theory for aesthetics, holding that being, as the basis of existence, has identity and truth, is the co-existence of me and the world, and deduces the transcendence and intersubjectivity of aesthetics. The transcendence of aesthetics overcomes the alienation of realistic existence, thus reaches the realm of freedom and restores the authenticity of existence, while the inter-subjectivity of aesthetics can restore the identity of existence. How is it possible to transcend, inter-subjective aesthetic environment? Yang Chunshi thought that in addition to the theory of world existence, it was necessary to associate existentialism with phenomenology. In its opinion, existentialism is possible only from the perspective of phenomenology, because phenomenology makes the phenomenon become the manifestation of existence, while the phenomenon becomes the manifestation of existence, and when the phenomenon becomes the manifestation of existence, the phenomenon is not the representation of the being. Therefore, the transcendence of existence has the basis of existentialism, and intersubjectivity has changed from epistemology to existentialism. In this regard, "inter-subjectivity transcendence" aesthetics can only be obtained from the perspective of phenomenology. Yang Chunshi therefore thinks that aesthetics is the same as phenomenology and existentialism. Yang Chunshi's aesthetic theory of "inter-subjectivity transcendence" promoted the self-development of practical aesthetics, such as the new practical aesthetics, and the construction of practical existential aesthetics was undoubtedly influenced by him directly or indirectly. Therefore, there is no denying its basic theoretical value of aesthetics and the significance of academic history. At the same time, because the aesthetic theory of "inter-subjectivity transcendence" has communicated phenomenology and existentialism, it can be said that modern metaphysics has been constructed on the basis of new existentialism, which provides the possibility of redemption for overcoming the evils of meaning nihilism that may appear in modern society.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：B83-092
本文編號(hào)：2462510
[Abstract]:Mr. Yang Chunshi is an influential aesthetician in contemporary China. In the controversy with Li Zehou's practical aesthetics, Mr. Yang Chunshi constantly promoted his aesthetic thinking, and finally constructed his own aesthetic theory of "inter-subjectivity transcendence", which he named as "inter-subjectivity transcendence". It has made a positive contribution to the study of the basic theory of contemporary Chinese aesthetics. At first, Yang Chunshi came to the fore in the field of aesthetics with such academic ideas as "transcending practical aesthetics" and "moving towards post-practical aesthetics". In the family of post-practical aesthetics, he advocated transcending aesthetics and pursuing the freedom of existence. After that, he found that practical aesthetics emphasized too much subjectivity, which made freedom and beauty difficult to manifest, so he consciously constructed his theory of inter-subjectivity. With the further development of the research, Yang Chunshi found that transcendental aesthetics was still based on existentialism rather than existentialism, and the lack of existential proof of intersubjectivity could not finally achieve the transcendence of practical aesthetics. Yang Chunshi attached great importance to the identity of existentialism and phenomenology. In his view, the two major systems of modern philosophy, namely, existentialism and phenomenology, need to be connected in order to realize the transcendence and intersubjectivity of aesthetics, and at the same time to construct the real post-practical aesthetics. And finally realize aesthetics as the "first philosophy" long-cherished wish. It can be said that aesthetics, as the first philosophy, is also the long-cherished wish of the first philosophy, because the phenomenon is only possible in aesthetics. Specifically, Yang Chunshi laid the foundation of existential theory for aesthetics, holding that being, as the basis of existence, has identity and truth, is the co-existence of me and the world, and deduces the transcendence and intersubjectivity of aesthetics. The transcendence of aesthetics overcomes the alienation of realistic existence, thus reaches the realm of freedom and restores the authenticity of existence, while the inter-subjectivity of aesthetics can restore the identity of existence. How is it possible to transcend, inter-subjective aesthetic environment? Yang Chunshi thought that in addition to the theory of world existence, it was necessary to associate existentialism with phenomenology. In its opinion, existentialism is possible only from the perspective of phenomenology, because phenomenology makes the phenomenon become the manifestation of existence, while the phenomenon becomes the manifestation of existence, and when the phenomenon becomes the manifestation of existence, the phenomenon is not the representation of the being. Therefore, the transcendence of existence has the basis of existentialism, and intersubjectivity has changed from epistemology to existentialism. In this regard, "inter-subjectivity transcendence" aesthetics can only be obtained from the perspective of phenomenology. Yang Chunshi therefore thinks that aesthetics is the same as phenomenology and existentialism. Yang Chunshi's aesthetic theory of "inter-subjectivity transcendence" promoted the self-development of practical aesthetics, such as the new practical aesthetics, and the construction of practical existential aesthetics was undoubtedly influenced by him directly or indirectly. Therefore, there is no denying its basic theoretical value of aesthetics and the significance of academic history. At the same time, because the aesthetic theory of "inter-subjectivity transcendence" has communicated phenomenology and existentialism, it can be said that modern metaphysics has been constructed on the basis of new existentialism, which provides the possibility of redemption for overcoming the evils of meaning nihilism that may appear in modern society.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：B83-092
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