他者性的美学:超越性与主体间性的变异

发布时间：2018-07-10 20:16

本文选题：他者性 + 主体间性　；参考：《陕西师范大学学报(哲学社会科学版)》2012年06期

【摘要】：他者性美学是在他者性哲学的基础上形成的。列维纳斯从他者的超越性出发,把审美界定为超越经验意识的感觉,把美确定为物的本原状态。这样,他的美学就具有自然主义的倾向,而否认了审美的超越性。同时,他认为美只是"物"的还原,它超越于存在,因此不是主体,也不是人的对象,与人无关。这一思想固然摆脱了主体性,但也否定了审美的主体间性。另一个他者性美学家路易斯认为,审美源于道,道是他者,具有伦理性。艺术的他者性体现在语言、文本、创作、接受各个环节,因此审美具有公共性、客观性,而不是主体性的活动。这一理论使审美的超越性和主体间性发生了变异。从本质上说,他者性美学对他者的超越性和非主体性的强调,实际上是超越性和主体间性理论的扭曲形式。在这个意义上,他者性美学的发生,为肯定审美的主体间性和超越性开辟了道路。
[Abstract]:The aesthetics of otherness is formed on the basis of the philosophy of otherness. From the transcendence of the other, Levinas defines aesthetics as the feeling of transcending the consciousness of experience, and determines the beauty as the original state of things. In this way, his aesthetics tends to naturalism and denies the transcendence of aesthetics. At the same time, he thinks that beauty is only the restoration of "thing", it transcends being, so it is not the subject nor the object of man, and it has nothing to do with man. Although this thought got rid of subjectivity, it also negated the intersubjectivity of aesthetics. Lewis, another other aesthetician, believes that aesthetics originates from Tao, and Tao is other and ethical. The otherness of art is embodied in language, text, creation and acceptance. This theory makes aesthetic transcendence and intersubjectivity change. In essence, the emphasis on transcendence and non-subjectivity in the aesthetics of otherness is in fact a distorted form of the theory of transcendence and intersubjectivity. In this sense, the occurrence of otherness opens the way for affirming the intersubjectivity and transcendence of aesthetics.
【作者单位】：华侨大学文学院;
【基金】：福建省社会科学规划项目(2009B133)
【分类号】：B83-0

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