美学转型的旧命题、新思路与未决疑难——三问“居间美学”  

Classic Topic,New Approach,and Unresolved Issue in Aesthetic Transformation:Three Questions on“Intermediary Aesthetics”

作　　者：李嘉华 LI Jiahua(Beijing Normal University)

机构地区：[1]北京师范大学

出　　处：《国际比较文学（中英文）》2024年第2期137-152,共16页International Comparative Literature

基　　金：“中央高校基本科研业务费专项资金资助”(项目批准号:1233100035)成果。

摘　　要：汪尧翀针对当下美学式微的状况提出了“居间美学”。“居间美学”源自美学转型的“旧命题”。美学在现代社会生活中的独特位置使其成了一个思想史的症候,不止造成了康德哲学中艺术没有独立领地的境遇和黑格尔的“艺术终结论”,而且体现为美学在哈贝马斯以降的批判理论中的缺席。究竟原因,它与现代性理论从主体性到主体间性的范式转型息息相关。如果把居间美学置于康德与黑格尔之间的思想史位置,将会看到,居间美学兼取康德与黑格尔之长,推出了“新思路”。它根据对现代性理论的重构,致力于整合现代社会的复杂性问题和合法性问题,既遵循现代社会诸领域不断分化的逻辑,也从整体上赋予现代社会以意义。这就要求美学必须改换自己的传统定位,重视自然与历史的交互。所谓的“自然-历史空间”即居间美学施展新思路的场域,媒介在其中具有二重性的特点,既受感性制约,同时表达思想。在这个意义上,居间美学可以被看作一种关于媒介的哲学,然而它作为“新思路”同时引起了一个未决疑难:居间美学一方面致力于建立媒介的思想坐标,另一方面却继续执拗地把自身视作美学。它是否可以被算作美学?由此表明,居间美学作为与现代性理论联系紧密的新思路,尚未提供与之相匹配的历史哲学以澄清自己的历史定位。Wang Yaochong proposes the“Intermediary Aesthetics”in response to the current decline in aesthetics,which originates from the“classic topic”of aesthetic transformation.The unique position of aesthetics in modern social life has rendered it a symptom in the history of thought.This not only results in the failure of art to have independent territory in Kantian philosophy and thus Hegel’s claim to“The End of Art,”but also unveils the absence of aesthetics in critical theory after Habermas.The reason behind this is closely related to the long-standing paradigm shift in theories of modernity from subjectivity to intersubjectivity.When considered in the context of the intellectual history between Kant and Hegel,it is easily discernible that the“new approach”of Intermediary Aesthetics combines the strengths of both Kant and Hegel.By reconstructing the theory of modernity,Intermediary Aesthetics commits itself to integrating the issues of complexity and legitimacy in modern society.Arguably,Intermediary Aesthetics not only follows the logic of continuous differentiation in various fields of modern society,it also endows modern society with meaning as a whole.This requires that aesthetics change its traditional position and emphasize the interaction between nature and history.The so-called“natural-historical space”refers to a field in which Intermediary Aesthetics can apply its new approach,wherein the dual medium is subject to perceived constraints and articulates ideas at the same time.By this token,Intermediary Aesthetics can be seen as a philosophy of the in-betweenness of media,but as a“new[methodological]approach,”it also raises an unresolved issue:On the one hand,Intermediary Aesthetics is committed to establishing the intellectual coordinates of media,while on the other hand,it continues to stubbornly identify itself with aesthetics.Can Intermediary Aesthetics be considered as aesthetics?This indicates that Intermediary Aesthetics,as a new approach closely related to modernity theory,has

关 键 词：居间美学 美学转型 康德与黑格尔之间 自然-历史空间 媒介哲学 

分 类 号：B83-0[哲学宗教—美学] J01[艺术—艺术理论]