从“现象的身体”到“可逆的肉”：论梅洛-庞蒂美学理论的前后转换  

From “Phenomenological Body” to “Reversible Flesh”: the Transformation of Merleau-Ponty's Aesthetic Theory

作　　者：舒志锋[1,2] 

机构地区：[1]中国人民大学哲学院,100872 [2]耶鲁大学

出　　处：《文艺理论研究》2017年第6期194-203,共10页Theoretical Studies in Literature and Art

摘　　要：梅洛-庞蒂的哲学思考向来是对美学开放的,对于梅洛-庞蒂来说,这种开放性是非常重要的,因为这关涉到自身哲学的敏感性与生成性而不致陷入到传统哲学的窠臼。梅洛-庞蒂的美学思考,随着其哲学向度上的"现象的身体"到"可逆的肉"的转换而得到不断深入的阐发,美学也从知觉与感性的层面,向本体与"基质"的层面生成。无论是在前期的《塞尚的疑惑》《间接的语言与沉默的声音》,还是后期的《眼与心》中,绘画一直占据着梅洛-庞蒂美学思考的中心,这是因为绘画的纯粹性的"视看",指向着那个在意识哲学中被忽视与从属的"可见性"的维度。在梅洛-庞蒂的哲学中,可见性的维度,关涉到始源的世界的开显,指向着"可见与不可见"的世界结构的生成。Merleau-Ponty＇s philosophical thinking is also aesthetics. Such an openness is vital for him, since it concerns the sensitivity and becoming of selfhood philosophy, without being trapped in the dilemma in traditional philosophy. With the transition from the ＂phenomenological body＂ to the ＂reversible flesh＂ in his philosophy, Merleau-Ponty＇ aesthetics shifts from perception and sensibility to ontology and ＂element＂. In his early works Cezanne＇s Doubt, Indirect Language and The Voice of Silence, and late work Eye and Mind, painting is always central to Merleau-Ponty＇s aesthetic thinking, because the pure ＂vision＂ in painting refers to the visual dimension that is ignored and marginalized in conscious philosophy. The visual dimension concerns the opening of the primordial world and becoming of the structure of ＂visible and invisible＂.

关 键 词：梅洛-庞蒂 身体 肉 美学 

分 类 号：I01[文学—文学理论]