升华与反升华:齐泽克的艺术本体论探微  

Sublimation and Desublimation:On SlavojŽižek’s Ontology of Art

作　　者：段吉方[1] 刘宇婷 Duan Jifang;Liu Yuting

机构地区：[1]华南师范大学审美文化与批判理论研究中心、文学院 [2]华南师范大学文学院,广东广州510006

出　　处：《学术研究》2024年第10期167-176,178,共11页Academic Research

基　　金：国家社科基金重大项目“当代西方美学社会学转向问题研究”(23&ZD233)的阶段性成果。

摘　　要：受拉康精神分析理论的影响,齐泽克从升华与反升华的角度展开艺术本体问题研究,他将精神分析与文学艺术作品、文化现象进行互释,认为艺术是占据了神圣之“物”的空无位置的物品,艺术的本质外在于艺术自身。尤其在现代艺术中,艺术不再遵循过去的升华模式,而体现出一种“反升华”的倾向。在艺术本体问题上,齐泽克拓展了拉康理论的思想深度,同时将拉康理论与黑格尔思想、批判理论等相结合,不断打开精神分析与当代艺术问题的阐释与对话潜能,并揭示了现代主义艺术在打破“后意识形态幻象”方面的革命潜能及实践力量。Influenced by Lacanian psychoanalysis,SlavojŽižek carried out the study of the ontology of art from the perspective of sublimation and desublimation,and he interpreted psychoanalysis with literature,artworks and cultural phenomena.Žižek believed that art is art because it takes the dignity of“the Thing”/“Das Ding”,and the essence of art is external to art itself.Especially in modern art,art no longer follows the old sublimation formula,but reflects a tendency of desublimation.On the question of ontology of art,Žižek expands the depth of Lacan’s theory,and at the same time combines Lacan’s theory with Hegel’s thought and critical theory,opening up the potential of interpretation and dialogue between psychoanalysis and contemporary art,and revealing the revolutionary potential and practical power of modernist art in breaking the“fantasy of post-ideology”.

关 键 词：齐泽克 艺术本体论 升华 反升华 

分 类 号：J01[艺术—艺术理论]