艺术的自我指涉悖论:卢曼对德国浪漫派的重述  

The Paradox of Artistic Self-Referentiality:Niklas Luhmann’s Reinterpretation of the German Romantics

作　　者：范劲 FAN Jin(Department of Chinese Language and Literature,Sun Yat-sen University,Guangzhou 510275,China)

机构地区：[1]中山大学中国语言文学系,广州510275

出　　处：《同济大学学报(社会科学版)》2025年第2期50-60,共11页Journal of Tongji University:Social Science Edition

基　　金：国家社会科学基金一般项目“卢曼系统论在‘世界文学’框架塑造上的应用研究”(19BWW007)。

摘　　要：德国浪漫派的“系统思考”,在本雅明的浪漫派研究中得到初步呈现,在卢曼系统论中更是成为艺术系统“自创生”的模型。浪漫派是第一种反思文学自治的艺术风格,卢曼视之为从传统的客体艺术向现代的世界艺术转变的第一步。不过,他认为浪漫派仍然受到主体哲学的限制,没有摆脱形而上学的“完整的人”的表象。卢曼从系统论视角出发对浪漫派艺术观进行重释,“数学”“文化”和时间概念是他关注的重点,分别代表浪漫派世界的事情、社会和时间维度。从卢曼对浪漫派的理解中,我们不但可以辨认出系统论艺术理论和源自康德的现代美学的区别,也可以看到他对于后现代和解构主义的批评,而这些都反映了当代德国美学的新动向。The“systematic thinking”of the German Romantics was initially presented in Walter Benjamin’s study on Romantics,and in Niklas Luhmann’s systems theory,it became a model for the autopoiesis of the art system.The German Romantics were the first artistic style to reflect on literary autonomy,which Luhmann regards as the first step in the transition from traditional object art to modern world art.However,he argues that the Romantics were still limited by the philosophy of the subject and did not escape from the metaphysical representation of the“whole man”.Luhmann reinterprets the Romantic view of art from the system-theoretical perspective,with“mathematics”,“culture”and the concept of time as the focus of his attention,representing the thing,social,and temporal dimension of the Romantic world.Luhmann’s understanding of the Romantics reflects a certain new trend in contemporary German aesthetics.In it,we can find not only the difference between system-theoretical art theory and modern aesthetics derived from Kant,but also his criticism of post-modernity and deconstructionism.

关 键 词：德国浪漫派 系统论 二阶观察 数学 自我指涉 

分 类 号：J0-05[艺术—艺术理论]