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作 者:肖建华[1] XIAO Jianhua(College of Humanities,Guangzhou University,Guangzhou,Guangdong 510006)
出 处:《中国文学研究》2022年第3期1-11,共11页Research of Chinese Literature
基 金:国家社会科学基金项目“听觉现象学美学研究”(20BZW026)。
摘 要:李泽厚的哲学、美学理论体系建构极大地受到20世纪著名的德国存在主义哲学家海德格尔的影响。海氏哲学对李泽厚的影响,鲜明地体现在其著名的“双本体论”的提出和建构当中。李泽厚对海氏哲学的解读带有强烈的个人风格,或者说,他是基于其自身的现代性中国哲学文化立场来看待海氏哲学的,无论是所谓的“工具本体”还是“情本体”概念的提出和建构,李泽厚都从他自己的视角吸取了他所认为的海氏哲学中的合理内核,并对其所认为的不合理的东西进行了批判和否定。李泽厚对海氏存在哲学的接受及化用,是当代中国哲学和美学界如何面对他者和前人的理论并以之为基础进行“转化性创造”的绝佳学术公案,它对我们在今后的思想学术创造活动中如何以一个带有主体性和现代性的中国文化立场去面向作为“他者”的西方文化或异质文化提供了重要的启示。The construction of Li Zehou’s philosophical and aesthetic theoretical system is greatly influenced by Heidegger,a famous German existentialist philosopher in the 20th century. The influence of Heidegger’s philosophy on Li Zehou is clearly reflected in the proposal and construction of his famous“dual ontology”. Li Zehou’s interpretation of Heidegger’s philosophy has a strong personal style. In other words,he deals with Heidegger’s philosophy based on his own position of modern Chinese philosophy and culture. In the proposal and construction of the so-called“instrument noumenon”or“feeling noumenon”,Li Zehou absorbs the reasonable kernel of Heidegger’s philosophy from his own perspective,criticizes and denies the unreasonable composition in Heidegger’s philosophy. Li Zehou’s acceptance and utilization of Heidegger’s ontology philosophy is an excellent academic case to show how contemporary Chinese philosophy and aesthetics deal with the thought of“the other”and the predecessors and carry out“transformational creation”on the basis of their thought. Li Zehou’s case provides a lot of important inspiration on how we should look upon the western culture or heterogeneous culture as“the other”from the standpoint of Chinese culture with subjectivity and modernity in the upcoming theoretical construction and academic creation.
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