在“批判启蒙”与“审美批判”之间——构建“全面的现代性”

Between “Critical Enlightenment” and “Aesthetic Criticism”——On the New Construct of the Comprehensive Reflective-modernity

“现代性”作为来自欧洲的观念,在历史上不断得到反思,主要存在两类反思的理路一类可称之为“泛审美现代性”,以波德莱尔为起点,中经齐美尔,直到福柯那里结束,他们面对现代性皆持一种“审美批判”的态度;另一类可称之为“批判启蒙现代性”,也就是在批判启蒙基础上来实现启蒙的“现代性”思想,它以韦伯为起点,直接穿越了从阿多诺到哈贝马斯的法兰克福学派两代哲学家。实际上,人们可以在这两种“反思现代性”之间“执两用中”,从而构建一种崭新的“全面的现代性”。这种现代性的“全面性”,就体现在“以审美中和主体性”、“以审美中介纵向理性”、“以审美平衡文化分化”、“以审美规划社会尺度”,从而走向一种“主体间性的交往原则”、“横向理性—感性的图景”、“文化间性的对话主义”和“新感性—理性社会”的通途。

Between the aesthetic modernity （from Charles Baudelaire, Georg Simmel to Michel Foucault） and the modernity of critical enlightenment （from Max Weber, Theodor Wiesengrund Adorno to Jürgen Habermas）, a new third kind of reflective-modernity can be constructed at the present time. The meanings of the comprehensive modernity include： Ⅰ from the hegemony of Subjectivity to the communication of intersubjectivity through aesthetic approach; Ⅱ. from logocentrism to ＂Vernunft transversale＂ through aesthetic intermedium; Ⅲ. from cultural differentiation to cross-cultural dialogism through aesthetic integration; Ⅳ. from social Utopia to a new aesthetic-rational road of society through aesthetic agency.