论九鬼周造基于偶然性的艺术观  

On Shūzō Kuki's Contingency-Based View of Art

作　　者：朱恬骅 Zhu Tianhua

机构地区：[1]复旦大学中文系

出　　处：《理论界》2016年第10期98-103,共6页Theory Horizon

摘　　要：九鬼周造在《偶然性的问题》中博采各家之言,在逻辑学和现象学中迂回地进行探索。他认为,"原始偶然"是因果追溯的极限,偶然性支配了世界中重要的一部分;偶然性不是主观的,它在时间特性上属于"现在"。这一"现在"特征导致了"惊异"的情感,而二者是文学和艺术的共同基础。艺术的结构性质和其所反映的内容均有赖于偶然性。综观其论述,或有前后不一致之处,但对于我们认识艺术中的偶然性仍有启发意义。而其论述中的不一致之处也恰恰表明偶然性仍然具有不可回避的主观性质,并提示了偶然性的四种形式,即随机、任意、不可预见和作为基础的模态上的偶然。从偶然事件中得到启示,进而产生新的艺术形式和技艺,在此意义上,偶然性是艺术创造的契机。In his Problems of Contingency, Shūzō Kuki conducted relentless logical and phenomenological investigations on contingency, so as to argue that ＂ Urzufall＂ is the limit of causal analysis and contingency plays vital roles in everyday life.He regards contingency to be non-subjective and temporally ＂ at present＂, leading to ＂ astonishment＂.He argues also that＂ presence＂ and ＂ astonishment＂ are fundamental to art and literature.Both the structure and content of art depend on contingency.Although his arguments require finer elaboration to eliminate inconsistency, they still inspire us to identify the inevitable subjectivity in contingency and four forms of contingency,i.e.stochastics,arbitrariness,unpredictability,and modal contingency.Contingent events may foster new forms or techniques of art,thus being the moments for artistic innovations.

关 键 词：九鬼周造 《偶然性的问题》 偶然与艺术 

分 类 号：B83[哲学宗教—美学]