论作为审美关系的共鸣  

On Resonance as an Aesthetic Relation

作　　者：冯学勤[1] FENG Xue-qin(LI Shutong Institute of Aesthetic Education,Hangzhou Normal University,Hangzhou Zhejiang 311121,China)

机构地区：[1]杭州师范大学李叔同美育学院,浙江杭州311121

出　　处：《内蒙古社会科学》2025年第3期156-162,共7页Inner Mongolia Social Sciences

基　　金：浙江省哲社规划领军人才培育项目“当代中国艺术形上学话语体系建构研究”(编号:24QNYC15ZD)。

摘　　要：至迟于20世纪初,中文“共鸣”一词开始出现具有物理学知识背景的现代性意涵;20世纪20年代,“共鸣”一词进入艺术和审美论域,成为朱光潜前期美学思想中的一个重要范畴;进入21世纪以来,作为对德国浪漫主义传统思想资源的继承与开新,德国社会学家罗萨系统建构了作为“新异化”诊疗方案的“共鸣”论,将“共鸣”视作主体与世界之间的一种“回应性的关系”,进而对“沉默的”异化关系加以转化。尽管罗萨点到了共鸣与审美经验之间的联系,但他并未在美学层面进行更加深入的阐发,而是止步于将审美共鸣视为一种幻象;朱光潜则早已从移情说的角度,对共鸣的核心问题进行了阐释。立足于朱光潜及中国现代美学传统,同时参照罗萨的共鸣论,我们可以将共鸣关系确定为一种审美关系。By no later than the early 20th century,the Chinese term gongming(resonance)began to acquire modern connotations informed by knowledge of physics.By the 1920s,the term entered the discourse of art and aesthetics,becoming a pivotal category in the early aesthetic thought of ZHU Guangqian.Since the turn of the 21st century,building on the intellectual legacy of German Romanticism,the German sociologist Hartmut Rosa has systematically developed a theory of resonance as a remedy for new forms of alienation,framing it as a responsive relationship between subjects and the world that transforms silent alienating relations.Although Rosa briefly acknowledges the connection between resonance and aesthetic experience,he refrains from deeper aesthetic elaboration,dismissing aesthetic resonance as mere illusion.In contrast,ZHU Guangqian had already addressed the core issues of resonance through the lens of empathy theory.By grounding our analysis in ZHU Guangqian and the Chinese modern aesthetic tradition,while referencing Rosa's resonance theory,we can define the resonant relationship as an aesthetic relation.

关 键 词：共鸣 异化 交感共鸣 审美关系 浪漫主义 中国现代美学 

分 类 号：I01[文学—文学理论]