在象征与符号之间——论保罗·德曼对黑格尔崇高美学的解构主义阐释  

Between Symbol and Sign--Paul de Man's Deconstructive Interpretation of Hegel's Aesthetics of the Sublime

作　　者：吴天天 Wu Tiantian(School of Chinese Language and Literature,Hubei University)

机构地区：[1]湖北大学文学院

出　　处：《美学与艺术评论》2024年第2期1-15,249,250,共17页Journal of Aesthetics and Art Review

基　　金：国家社科基金重大项目“中国文论关键词研究的历史流变及其理论范式构建”(项目编号:22&ZD258);国家社科基金青年项目“崇高美学的谱系研究”(项目编号:20CZW002);湖北省教育厅社科基金项目“现象学、后结构主义对语图关系的影响研究”(项目编号:19Q010)的阶段性成果。

摘　　要：作为耶鲁解构主义最重要的代表,保罗·德曼在后期著作《审美意识形态》中试图从解构主义修辞学角度对黑格尔崇高美学展开重释,彰显崇高美学之于黑格尔美学乃至整个黑格尔思想体系的重要意义。在将后现代语言转向融入审美意识形态批判的过程中,德曼不仅区分了语言的物质性和自然事实,还区分了以任意性为特征的符号和以理据性为特征的象征。象征与符号之间的张力既涉及从摹仿式崇高向非摹仿式崇高的过渡,又涉及从崇高的象征向自觉的象征的过渡。德曼对黑格尔崇高美学的阐释呼应了解构主义的创始人德里达的观点,展现出语言修辞视角为人们重释艺术终结论、讽喻理论等黑格尔美学问题带来独特的启示。As Yale deconstructionism's most important representative,Paul de Man in his later work Aesthetic Ideology tries to reinterpret Hegel's aesthetics of the sublime from the view of deconstructive rhetoric,and demonstrate the importance of the aesthetics of the sublime in Hegel's aesthetics and philosophy.By exploring the relationship between the postmodern linguistic turn and the critique of aesthetic ideology,De Man not only discover the difference between the material of language and natural reality,but also discover the difference between the arbitrary sign and the motivational symbol.The tension between sign and symbol indicates the transition from the mimetically sublime to the non-mimetically sublime,from symbolism of the sublime to conscious symbolism.Responding to Derrida who is the originator of deconstructionism,De Man's interpretation of Hegel's aesthetics of the sublime shows that language-rhetoric can bring unique inspiration to our reconsideration of the problems of Hegel's aesthetics such as the end of art and the theory of allegory.

关 键 词：保罗·德曼 黑格尔崇高美学 解构主义 象征 符号 

分 类 号：B83-0[哲学宗教—美学]