克罗齐表现主义美学的符号论解读--从“语言学与美学的统一”谈起  

A Symbolic Interpretation of Croce's Expressionism:From the Proposition“the Identity of Linguistics and Aesthetics”

作　　者：贺嘉年 HE Jianian(Department of Chinese Language and Literature, Fudan University, Shanghai 200433)

机构地区：[1]复旦大学中国语言文学系,上海200433

出　　处：《绵阳师范学院学报》2022年第6期146-155,共10页Journal of Mianyang Teachers＇ College

摘　　要：文章从符号论视角重新解读克罗齐的表现主义美学。克罗齐将人类的先天认识能力视作一种符号能力,人只能以符号化的思维认知世界,这一认识过程就是表现,表现即符号。艺术是融化了情感的意象符号,这种符号悬置了它所指涉的客观世界,复归到人类的精神活动之中,随人类精神不断绵延创造。符号思维也是克罗齐精神哲学发展模式的隐喻,它是一种对精神活动全体进行分节与解构的策略。然而,克罗齐的符号概念是内在矛盾的,他过于强调符号的诗性意义和永恒变化,否定符号之间存在本质性差异,这导致审美活动与语言理解缺乏普遍性框架,从而落入相对主义和不可知论的窠臼。克罗齐对符号的诗性运思纵然偏颇,却也昭示着在那个被工具理性宰制的世界中,人类向语言与艺术复归的可能性。This paper reinterprets Croce's expressionism theory from a symbolic perspective.Croce regards the innate cognitive form of human beings as a symbolic ability,and we can only cognize the world with symbolic thinking.This cognitive process is expression,and expression is symbol.Art is an image as symbol,which melts into emotion and suspends the objective world it refers to and reverts to the spiritual activity of human beings,creating with the human spirit.Symbol is also a metaphor for Croce's model of spiritual philosophical development,a strategy of articulation and deconstruction of the whole of spiritual activity.However,Croce's conception of the symbol is inherently contradictory because he overemphasizes the poetic meaning and eternal change of symbol and denies the existence of internal differences between them,which leads to a lack of a universal framework for aesthetic activity and linguistic understanding,thus falling into relativism and agnosticism.Although Croce's poetic conception of symbols is somehow biased,it indicates the possibility of a return to language and art in a world that is dominated by instrumental rationality.

关 键 词：克罗齐 表现 语言 符号 

分 类 号：B83/060[哲学宗教—美学]