伽达默尔对主体性美学的批判  

On Gadamer 's Critique of Subjectivity Aesthetics

作　　者：肖建华[1] 

机构地区：[1]广州大学俗文化研究中心,广东广州510006

出　　处：《井冈山大学学报（社会科学版）》2014年第4期63-70,共8页Journal of Jinggangshan University(Social Sciences)

基　　金：国家社科基金项目"后期伽达默尔诠释学美学研究"(12CZX078);教育部人文社科项目"后期伽达默尔解释学诗学研究"(10YJC751095);2010年度广州大学青年博士专项课题"地方性诗学知识的现代性维度"

摘　　要：近代西方的主体性美学转向对人的美感和审美意识的探究,相比于古代的那种专注于美本质研究的客体性美学,这是一个重大的进步,具有十分重要的意义。但是主体性美学在现代遭遇了巨大的理论困境,因为它仍然局限于主客二分的思维模式,不能从根本上解决"自由何以可能"和"审美何以可能"的问题。为了破解这一困局,在现代西方,以伽达默尔等为代表的美学家们对主体性美学展开了激烈的批判。在对解释学对话、视域融合、艺术游戏等一系列概念的阐述中,伽达默尔的解释学转向了一种主体间性的美学思路,实现了从主体性美学向主体间性美学的理论转向。Compared with ancient aesthetics of objectivity which focuses on the nature of beauty, modern Western aesthetics of subjectivity shifts to the exploration of human aesthetic sense and aesthetic consciousness, which is a great and significant progress. Nevertheless, aesthetics of subjectivity encounters great theoretical difficulties due to its subjective/objective dichotomy which hinders the ultimate settlement of the questions of ＂how freedom is possible＂ and ＂how appreciation of beauty is possible＂. To break the dilemma, modern Western aestheticians like Hans-Georg Gadamer launched fierce critique of aesthetics of subjectivity. In his elaboration of the concepts of hermeneutical dialogue, fusion of horizons, game of arts, Gadamer turned his hermeneutics to an approach of inter-subjectivity and realized the theoretical turn from subjective to intersubjetive aesthetics.

关 键 词：主体性 伽达默尔 对话 视域融合 主体间性 

分 类 号：B516.59[哲学宗教—外国哲学]