解释学文论与当代中国文论建设

发布时间：2019-01-14 10:38

【摘要】：伽达默尔之所以用游戏、象征、节日、语言来界定艺术,是本体论美学的语言游戏论对认识论美学的形式的主观合目的论的批判,实质上是要消解所谓人类中心论和主体性观念,以说明它们的非主体性和无目的性。主动性和受动性、合规律性与合目的性在以物质生产为中心的社会实践中本来就是辩证统一的,而且惟有它们的辩证统一才使社会实践达到了自由的高度,从而使整个社会实践(物质生产、精神生产、话语实践)带有了审美性质或审美因素,并且在精神生产中生成出一种纯粹的审美活动及其结晶——美和艺术。在建构中国特色当代文论的过程中,我们应该坚持新实践美学的文论,辩证地揭示美、审美和艺术的合规律性与合目的性的统一,即自由,走向自由的个体和多维的主体性全面发展的人,以精神生产和话语生产的自由实践论取代语言游戏论。
[Abstract]:The reason why Gadamer defines art by game, symbol, festival and language is a criticism of the subjective teleology of the form of epistemological aesthetics by the language game theory of ontology aesthetics. In essence, it is necessary to dispel the so-called anthropocentrism and the concept of subjectivity in order to explain their non-subjectivity and aimlessness. Initiative and passivity, regularity and purpose are dialectical unity in the social practice centered on material production, and only by their dialectical unity can social practice reach the height of freedom. So that the whole social practice (material production, spiritual production, discourse practice) with aesthetic nature or aesthetic factors, and in the spiritual production of a pure aesthetic activity and its crystallization-beauty and art. In the process of constructing contemporary literary theory with Chinese characteristics, we should adhere to the literary theory of new practical aesthetics and dialectically reveal the unity of beauty, regularity and purpose of aesthetics and art, that is, freedom. Towards the free individual and multi-dimensional subjectivity, the theory of language game is replaced by the free practice theory of spiritual production and discourse production.
【作者单位】：华中师范大学文学院;华东政法大学人文学院;
【基金】：教育部人文社会科学研究基金资助项目(06JA75011-44015)
【分类号】：I0

【共引文献】