艺术的自然状态与一般性用法——从反本质主义到充足理由律的回归

发布时间：2019-05-07 10:25

【摘要】：分析美学是20世纪中叶于西方理论界兴起的重要美学思潮。但正如理查德·舒斯特曼在《分析美学》前言中所指出的,在分析美学这一范畴之中实际上蕴含着两种对于"分析"的不同理解。反本质主义与多元主义是其中的一种理解向度,"分析"的方法在其中通常被用于对艺术这一概念进行拆解。在另一种以分析哲学为基础介入艺术与美学研究的向度中,"分析"则呈现为一种基于人类感官与认识论法则的识别与连贯性建构。在后一向度中,"分析"并非仅仅作为一种艺术研究的外部方法,而是其自身呈现为艺术的一种自然状态,表象之于感官认识达到充足之处,即表象自然显现为艺术。叔本华的"充足理由律"作为人类思维达到充足性的认识论规则,感官认识中所自然呈现的规律在其中有着不可忽视的奠基作用,并暗示了一种基于宇宙学的原初艺术定义。
[Abstract]:Analytical aesthetics is an important trend of thought rising in the western theoretical circles in the middle of the 20th century. But as Richard Schusterman pointed out in the preface to Analytical Aesthetics, there are actually two different understandings of "Analysis" in the category of Analytical Aesthetics. Anti-essentialism and pluralism are one of the understanding dimensions in which the method of "analysis" is usually used to disassemble the concept of art. In the other aspect of the study of art and aesthetics based on analytical philosophy, "analysis" is presented as a kind of recognition and coherence construction based on the laws of human senses and epistemology. In the latter dimension, "analysis" is not only an external method of artistic research, but also a natural state of art itself. Representation is sufficient for sensory cognition, that is, representation is naturally manifested as art. The second is that "analysis" is not only an external method of artistic research, but also a kind of natural state of art which is presented as art by itself. Schopenhauer's "the law of sufficient reason", as the epistemological rule of the adequacy of human thinking, in which the law naturally presented in sensory cognition plays an important role in laying the foundation, and implies a definition of primitive art based on cosmology.
【作者单位】：华东师范大学人文社会科学学院;
【基金】：教育部社会科学基金重大项目(14ZDB087)
【分类号】：J01

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