论杜夫海纳美学中超越二元对立的思维方式

Transcendence of Binary Contrast in Dufrenne's Aesthetics

杜夫海纳美学思想反映了他超越二元对立的思维方式。杜夫海纳认为审美对象是一种"准主体",强调审美主客体之间是二元合流的姻亲关系,从而消解二元对立,使主客体关系走向和谐;借助意向性思维,杜夫海纳将审美对象与审美知觉统一起来,并指出审美主客体既相互区别又相互关联,从而进一步明晰了人们对主客体关系的认识。他还把知觉与想象视为使主体与客体、感性与理性得以贯通与融合的重要途径。这种超越二元对立的思维方式实现了美学理论建构从认识论向存在论的转向,并给美学研究以方法论上的启迪和借鉴。

Dufrenne＇s aesthetics reflected his thinking way of transcendence of binary contrast. He maintains that the aesthetic object is a ＂quasi-subject＂ and he emphasizes a binary combination between aesthetic subject and object so as to dissolve binary contrast and achieve a harmonious relationship. With the help of intention thinking, Dufrenne combines aesthetic object with aesthetic perception and points out that the two sides both differentiate from and correlate with each other, which clarifies people＇s understanding of the relationship. He also regards perception and imagination as an important way to combine subject and object with perceptual and rational. His thinking way achieves the change from the establishment of aesthetic theories to epistemology and offers inspiration and experience in methodology to the study of aesthetics.