论幽暗生态学及其美学维度  

On Dark Ecology and Its Aesthetic Dimension

作　　者：张进[1] Zhang Jin(the School of Chinese Language and Literature,Lanzhou University,Lanzhou 730020,Gansu,China)

机构地区：[1]兰州大学文学院,甘肃省兰州市730020

出　　处：《文艺理论研究》2022年第3期47-55,67,共10页Theoretical Studies in Literature and Art

基　　金：国家社科基金重大项目“丝路审美文化中外互通问题研究”[项目编号:17ZDA272]的阶段性成果。

摘　　要：新世纪以来,面对全球变暖和深层生态学的人类中心主义,“幽暗生态学”应运而生。它吸纳“面向物的本体论”思想,擘画“未来共存”的新格局,突显出生态学的“美学维度”。从本体论层面,幽暗生态学通过“超客体”之“隐”与“现”之间的张力,将因果关系与美学维度关联起来;从认识论层面,它视“世界”为一种美学效果,并将其上溯至“农业后勤学”在美索不达米亚兴起之时;就方法论而言,它借助“悖论”“反讽”等艺术批评手法,探索物自体与其感官表象之间的深渊。在幽暗生态学揭橥的“不对称”和“亚主体”时代,美学正在成为生态思维和未来共存的指南。Since the beginning of the twenty-first century,dark ecology has emerged out of context of global warming and anthropocentrism of deep ecology.It draws up the idea of object-oriented ontology,outlines the new pattern of future coexistence,and highlights the aesthetic dimension of ecology.Ontologically,dark ecology connects causality with aesthetic dimension through the tension between the“withdrawn”and the“present”of“hyperobjects”.Epistemologically,it considers the“world”as an aesthetic effect and traces it back to the rise of agrilogistics in Mesopotamia.Methodologically,it explores the abyss between the thing-in-itself and its sensory appearance with the artistic methods of“paradox”and“irony”.In the age of“asymmetry”and“hyposubjects”revealed by dark ecology,aesthetics acts as a guide for ecological thought and future coexistence.

关 键 词：幽暗生态学 超客体 亚主体 农业后勤学 美学维度 

分 类 号：B83-05[哲学宗教—美学] X2[环境科学与工程—环境科学]