西方文论关键词:技艺  

Tekhnē: A Keyword in Critical Theory

作　　者：刘晖[1] Liu Hui(Institute of Foreign Literature,Chinese Academy of Social Science,Bejing,China)

机构地区：[1]中国社会科学院外国文学研究所,北京100732

出　　处：《外国文学》2022年第5期105-117,共13页Foreign Literature

摘　　要：按照亚里士多德的定义,“技艺”包含素养、规则、制作和行动四种意义。由于兼容理性与非理性,在西方美学发展过程中,技艺的含义常常以其同义词的变相形式不断发生对抗。在文艺理论方面,技艺成为规则与素养、制作与创造、执行与做、机械论与有机论、理论与实践的斗争地点;在接受美学方面,技艺体现着艺术制作与鉴赏、天才与趣味、想象力与判断力、做与重做、创造与接受的互动。从法国17世纪到20世纪90年代,布瓦洛、圣伯夫、朗松、布尔迪厄等理论家利用“技艺”遗产,力图将技艺从诗学制作整合为美学的、伦理的和政治的生成模式,使之成为社会历史诗学、实践美学乃至科学认识论的基石。According to Aristotle, tekhnē refers to disposition(hexis), rules, fabrication and action(praxis). As western aesthetics develops, these four definitions of tekhnē as well as its synonyms display a long-term rivalry between the rational and the irrational. In theories of art and literature, tekhnē becomes a site for struggles between rules and disposition, fabrication and creation, action and making, mechanism and organism, as well as theory and practice. The reception aesthetics particularly holds that tekhnē represents interactions between poetics and appreciation, genius and taste, imagination and judgment, make and remake, as well as creation and reception. From the 1600s to 1990s, such theorists as Boileau, Sainte-Beuve, Lanson and Bourdieu utilized the resources of tekhnē, turning it from poetics into an aesthetical, ethical and political generative schema, and thus laying the foundation for a socio-historical poetics, a practical aesthetics and a scientific epistemology.

关 键 词：技艺 制作 习性 社会历史诗学 实践美学 

分 类 号：I0[文学—文学理论]