康德崇高美学的后现代状态——利奥塔、德里达和南希等对康德崇高美学的重构

发布时间：2018-12-19 12:38

【摘要】：康德在《判断力批判》中将审美类型分为美和崇高两大类,美是由想象力与知性的谐和而产生的愉悦,崇高是由想象力不适合表现理念而产生的、痛苦与愉快并生的强烈感受。出于对形而上学之同一性、总体性和二元对立等思想倾向的批判,利奥塔、德里达和南希等在对康德崇高美学的后现代重构中将崇高所涉及到的感性与理性的之间的冲突转化为激活差异的契机。利奥塔认为在崇高中想象力与理念彼此既不可化约又相互作用,并将理念的超越性与对既定标准的超越相联系。和利奥塔一样,德里达也将崇高中想象力对理念的否定性表现视为类比修辞,但德里达在此基础上强调理念并非与有限相对立的无限而是在自身中包含着界限,亦即强调想象力的踪迹是将有限和无限之间的相互作用汇聚于同一动作(运动)中的去界限。作为对利奥塔和德里达关于崇高的论述的延续和推进,南希认为表现不再意味着想象力对理念的表现而是意味着发生、出现,而去界限即为崇高中的表现。在这些人对康德崇高美学的后现代重构中,捍卫差异意味着拥有一种临界体验。利奥塔将这种临界体验联系于踪迹,亦即与异质事物间的差异关系的运作有关的动作或运动。由于受到海德格尔的明显影响,德里达和南希不仅尤为重视踪迹还强调踪迹的自我擦抹特性,亦即强调踪迹不能被视为某种既成状态或既定结构。形而上学意义上的崇高意味着理性超越于感性并且这种超越总是涉及对感性的否定,而以差异、临界和踪迹等所标识出的后现代崇高则意味着在对感性的肯定中实现超越。
[Abstract]:In critique of judgment Kant divided the aesthetic types into two categories: beauty and sublimity. Beauty is the pleasure produced by the harmony of imagination and understanding. Sublimity is produced by imagination which is not suitable for the expression of ideas. It is a strong feeling of pain and pleasure. Out of the criticism of metaphysical identity, totality and dualism, Liotta, Derrida and Nancy in the post-modern reconstruction of Kant's sublime aesthetics transformed the conflict between sensibility and reason involved in sublime into an opportunity to activate the difference. Liotta holds that imagination and ideas are irrevocable and interacted with each other in sublimity, and the transcendence of ideas is related to the transcendence of established standards. Like Liotta, Derrida regards the negative expression of ideas in the lofty imagination as analogical rhetoric, but on the basis of which he emphasizes that ideas are not infinity opposed to finite, but contain boundaries in themselves. That is to say, the trace of imagination is the deboundary of bringing the interaction between finite and infinite together in the same action (motion). As a continuation and promotion of Liotta and Derrida's exposition on sublimity, Nancy believes that performance no longer means the expression of imagination to the idea, but to happen, to appear, and to go beyond the bounds is the expression of sublime. In these people's post-modern reconstruction of Kant's noble aesthetics, defending differences means having a critical experience. Liotta linked this critical experience to traces, that is, actions or movements related to the operation of the differential relationship between heterogeneous things. Due to the obvious influence of Heidegger Derrida and Nancy not only attach great importance to the trace but also emphasize the self-erasure of the trace that is to say the trace can not be regarded as a certain established state or established structure. Metaphysical loftiness means rational transcendence in sensibility and this transcendence always involves negation of sensibility while postmodern sublimity which is marked by difference criticality and trace means transcending in affirmation of sensibility.
【作者单位】：南京大学文学院;
【基金】：国家社会科学基金资助项目:11BZW002
【分类号】：B83-0

【相似文献】