【作者】 黄伟；

【导师】 冯宪光；

【作者基本信息】 四川大学 ， 文艺学， 2006， 博士

【摘要】 本文立足于存在论—解释学对美学的研究，深入探讨存在论—解释学的艺术观与体验论美学之间的根本差异，并在此基础上展开对建基于主体—客体二分结构之上的主体体验论美学的批判，以便重新审视人类此在在世界中的生存位置以及美学、艺术在人类生存中的作用和意义。通过对体验论美学的主体—客体二分结构的基本特征的分析，本文认为，体验论美学并不能代表所有的审美和艺术经验，它具有其自身不可逾越的界限和范围。从本质上说，体验论美学植根于一种比主体内在体验更为源始的根基之中，这个根基就是存在论—解释学作为基本理论出发点的人类自身的在世生存，以及人与世间万物之间的本源协调关系。因此，本文的主要工作就在于，深入发掘存在论—解释学对人之本源生存的规定，并由这种本源生存出发，展开对传统体验论美学的批判。通过各方面的理论分析，我们得出如下结论：1，体验论美学是在主体—客体二分的认识论模式基础上形成的一种以主体为绝对中心的形而上学美学形态，它从根本上强化了以主体为中心的此岸生存的基本生存取向，体验论美学是与人类主体中心论的形成密不可分的。本文认为，体验论美学的兴起与主体中心论的形成是互为表里的，二者相互支持并相互阐明。2，体验论美学将客体看作是处于主体之外的自在的实体，这种客体被强行纳入主体的内在体验之中，从而成为主体的对象。本文认为，体验论美学作为自身理论支撑的“自在实体”和“分裂对象”实质上是根本不存在的，它只不过是认识论抽象的结果。3，体验论美学的基本特征就是向“主体内在性”的“回返”，也就是将客体的一切性质和存在模态都归结到主体自身的力量之上去。从而体验论美学对艺术作品和美学理论的任何理解与把握，就都是从主体出发并最终回归到主体。4，审美情感不只是主体内在心理一生理的变化过程，审美情感的意义就在于，它建构了一个以情感和情绪为中心的审美场域，此场域展现的是人类此在自身与万物的亲密共处性，它表明了人类此在对于世界、自然的归属性和协调性。5，艺术是这样一种独特场域，在其中，人类此在与事物之间不再是相互对立，而是相互协调互相依赖。本文认为，艺术所展示的人与自然、人与世界万物的和谐共处，就成为了人类此在在世生存的基本原则。在存在论—解释学的理论构造中，人类艺术的原则实质上是与人类在世生存的基本原则相一致的。艺术原则在此转化为本真生存的存在原则。相应于上述基本看法，本文在结构安排上分为如下几个部分：第一章：“现代审美体验论评析”，主要内容是分析以主体为绝对中心的现代审美体验论的时代思想背景、基本概念内涵及其得以形成的哲学根源。随着现代科技的不断发展与进步，人类主体自身的力量不断被强化，整个世界都成为了人类认识的范围和对象。人类进入以主体为绝对中心的时代。主体力量将一切都纳入自身认识的范围。从而人类的存在就完全建基于主体自身在此岸世界的当下生存。而体验论“美学”，尤其是以主体内在性为基本规定的审美体验论，则进一步强化了这种倾向。体验论美学以主体内在体验为基础，使人在审美感觉中完全返回内心生命状态，任何—物的意义与价值都必须由这种“体验”来决定，它们必须被“回溯”到一个审美的“我”(Ich)，即某个明确的“主体”才能被承认。万物就被人这个明确的“主体”看作是可自由加以处置的“客体”，它们的存在意义就存在于主体的体验中。由审美体验出发，就可以从思想的根源处看到“美学”的基本结构：一种主体—客体相互分裂对峙的认识论模式，它是现代意识哲学的产物。第二章：“对审美体验论之根基的消解”，承接第一章的分析，具体展开存在论—解释学对体验论美学的根基，即主体—客体二分结构的拆解。从“存在论差异”的目光看来，世界作为不可对象化的意义关联境域，始终是在场与不在场二者间的不断运作，它涵括了人与万物的特定关涉在内；世界的非实体性运作同时将自身表现为一种“隐匿性”，这即是海德格尔所谓的“大地”。大地抗拒任何绝对开放透明的要求，它在自身开放的同时，始终保持自身的无限丰富内涵。世界与大地的关系表明，任何物都不可能是纯然的对象，它们不可能完全外在于人，而是必然与人的生存意义相联系的。第三章：“对审美体验‘内在性’的超越”，这一章的基本目的是对主体体验论美学所要求的体验“内在性”和“纯粹性”进行深入的批判。他人的存在表明了事物和世界始终具有我(作为主体)所不能同时全部拥有的多余的视角，它们都超出了我的内在体验的范围，而这就已经否定了事物仅仅作为我的对象的可能性。而对“纯粹感知”和审美经验“纯粹性”的分析则表明，人类的任何感知和任何审美经验，都不可能是绝对纯粹的，它总是指向人类的生存，总是要涉及到人类自身的意义世界。而这种与生存，与世界的关联，恰恰构成了所谓的“天才”创造和天才技艺的根基。第四章：“审美情感和生存情绪的世界化作用”，情绪不只是主体自身内在的情感或心理的变化，它不只是实在的生理—心理过程。情绪始终是与我们所生存的世界相关涉的，它总已经展开了一个特定的世界。而作为一种本质性的现身情绪，审美情感呈现一个独特的审美世界，在其中，处于审美经验中的人类此在向着事物和世界开放自身。审美情感表明了人类对向本源回归的渴望，以及这种回归的可能性在审美经验中的当下呈现。第五章：“返回艺术的生存之源”，艺术作品不只是主体内在体验的对象，它更是人类此在生存真理的呈现场域，是人生“真相”的具体绽露。艺术是展现人与万物间本真关系的场域，作品展现万物的本真存在，它让万物成其为自身之所是。通过作品的光照，人与万物的本源同一性这一生存“真理”得以向人呈现。与艺术的本真遭遇方式就在于，借助于作品所展现的本源力量，改变自身当下的现世生存。这样，“艺术原则”就转化为人在世的“生存原则”，此原则要求人在世间万物中为自己谋划(筑造)一个合适的位置与空间。而这正是美学和艺术存在的根本原因。更多还原

【Abstract】 Based on the researches of Heidegger’s Ontology and Gadamer’s hermeneutics, I explores the fundamental distinction between traditional "experience aesthetics" and the artistic thoughts of Heidegger and Gadamer. By explaining the "experience" characteristic of traditional aesthetics, I point out that the "experience aesthetics" has its own original ground, that is, man’s being-in-the-world and the genuine relationship between human being and thing. So the core of this thesis is to interpret the inherent relationship between Ontology-hermeneutic genuine existence theory and their criticism of the traditional "experience aesthetics". By this way, I want to argue that all the purpose of Ontology-hermeneutic criticism of the traditional experience aesthetics aim to human’s genuine existence be in accordance with the truth of art and beauty, and at last, the original being-form of art must become the mode of human’s genuine existence.Therefore, the purpose of this thesis is to excavate the regulation of human being’s existential origin in order to criticize "experience aesthetics". All my analysis comes to the following conclusions:1. The experience aesthetics is founded on the structure which stems from the confrontation and struggle between the subject and the object, that is to say, the subject has become the main pillar of the modern experience aesthetics. If something has been regarded as beauty, it must mean that such thing has been experienced and is within the subjective grasp. School of the experience aesthetics always believes that thing only exist for a subject, it must be an entity which is essentially independent of any other thing. So, traditional aesthetics always regards anything as an object which must be understood and recognized by a subject and just configured for the subjective capacity,2. The main presupposition of experience aesthetics is separation and opposition of subject and object. Object is a kind of substance itself and is experienced at the mercy of subject. But we find experience aesthetics itself does not exist in nature. It is only abstract result of Epistemology. Ontology-hermeneutic theory that criticizing abstract intrinsic substance just dispel the basis of the experience aesthetics.3. The characteristics of experience aesthetics return to subject itself, that attribute all thing to subject, and subject returns to itself again. Only do we realize to subjective intrinsic nature, we can get actual experience of appreciation of beauty.4. Aesthetic emotion transcendent variable meaning of intrinsic psychology and physiology in essence. The significance of aesthetic emotion is to build a kind of world in which human being and thing can co-exist altogether harmonically.5. Art is a kind of special field in which human being and nature can rely on and play with each other. Artwork lets thing be itself and at the same time make up us genuinely.The structure of this thesis as follows:Chapter 1: "Evaluation of modern ’experience aesthetics’." In it, I analyses main idea of modern experience aesthetics, basic concept and its origin and interpret the significance, its history of experience aesthetics. Heidegger thinks that it is an essential mark of modern time that artwork becomes an object of experience. The experience aesthetics makes human being return to his inner-ness and at last, the value and significance of any thing must be evaluated by this kind of experience, in other words, thing must be connected with an aesthetic subject. Through insight into the essence of aesthetic experience, we find out the mode of traditional aesthetics-the pattern of contradiction between subject and object which is based on the modern conscious philosophy. Therefore, I think that the prosperity of experience aesthetics is coupled with the emergence of this pattern (subject-object).Chapter 2, "De-constructing the basis of experience aesthetics", I introduce the main steps that de-construct the traditional aesthetics’ pattern of subject-object. Heidegger’s Ontology proves that World is not a substance or a pure or sample object which stands against human being. From the standpoint of "Ontological difference" theory, World must be accepted as a struggle between the presence and absence which includes the particular relationship between man and thing. We can see that World is not always the pure emergence (Openness), on the other hand, there is an essential submergence which Heidegger calls "Earth" in it. Earth opens itself partly and refuses to emerge absolutely. Seeking the original relationship between World and Earth, Heidegger proves that there is not a pure and sample object, thing must be regarded as an essential part in our existence.Chapter 3: "Transcending the ’inner-ness’ of aesthetic experience", its fundamental aim is to criticize the characteristics of Inner-ness of aesthetics experience. Discussing the questions of Other, we find that the researches of Other meeting with important significance, and that there Others being proved world and thing contains surplus vision that I (as a subject) can’t possess entirely. They all surpluses my experience field.Chapter 4: "The world-building function of aesthetic emotion and existential mood." We insist on mood not only be psychological and physiologic changes of subject itself. On the contrary, moods relate with our existential world, and present a special world. As a kind of natural mood, aesthetic emotion builds up a special aesthetic world. Human being open themselves to thing and world, and are eager to return to their origin .Chapter 5: "Return to the existential origin of Art.", I inquire further into the origin of artwork in this part. Heidegger regards artwork as a genuine field which exposes the original relationship between man and thing. In this particular playing field, thing and man co-exist and thing which reveal their genuine being can not be treated as strange objects. Artwork, in fact, exposes the genuine mode of things’ being and let every thing be itself (let things free). By means of the light of artwork, the existential truth that man and thing come from the same origin is revealed to us. Finally, the right form of treating artwork is to reform our human being’s existence whenever we are thrown to the shocking power of the artwork. Now we can see that this form already transforms Heidegger’s principle of artwork into existential principle of man’s being-in-the-world. It asks human being to find ("build") a right place among all the things.更多还原