虚无的美学:本体、价值与方法——萨特虚无论美学的基本架构

The Aesthetics of Nothingness:Ontology,Value and Methodology

萨特早期哲学中内含的美学是一种虚无论美学。萨特认为,人的存在作为自为的存在就是虚无与自由,虚无与自由构成了人的存在的本体论规定。美与艺术的存在同样以虚无和自由的本体论为其依据。不仅如此,人的存在作为虚无的存在就是欠缺,欠缺构成了价值的本性和起源。美作为自为的欠缺的所欠缺者就是一种作为超越性价值的存在,它具有既存在又不存在的双重特征。因此,审美只能以想象的方式才能实现。想象的本质特征是虚无化,而美对对象的审美提升实际上就是想象性意识对对象的虚无化。想象构成了虚无论美学的审美方法论,它把萨特的虚无论美学贯穿为一个美学本体论、美学价值论与审美方法论相统一的理论整体。

Satre＇s aesthetics of nothingness was included in his philosophy of nothingness. He regarded nothingness and freedom of being for itself as the ontological foundation of beauty. On the basis of these, and bringing the ＂absence＂ of human being to light, he proposed a further thesis that beauty has a kind of transcendental value. Therefore, Satre held the view that we should realize the beauty only through imagination. The paper concludes that Satre＇s aesthetics of nothingness is a theoretical integration of aesthetic ontology, aesthetic value and aesthetic methodology.