美学四态(三):超越论美学

Four Forms of Aesthetics (Ⅲ): Aesthetics of Transcendence

根据维特根斯坦“语义即用法”理论，作者认为，“美学”一词有四种用法，这四 种用法也就是美学的四种形态：美丽论美学，统一论美学，超越论美学，张力论美学。本文 首先论述了２０世纪９０年代中国“后实践美学”对实践论美学的超越，指出实践论美学被超越 的最重要的理由，实践论美学所受到的最严厉的指控，是它的理性主义。然后论述了西方美 学史上，叔本华对黑格尔，尼采对叔本华，海德格尔对尼采的“超越之旅”。最后指出，超 越论美学之“超越”，本质上是另一种“统一”，是感性统一理性，是感性淹没、覆盖、吞并理性。

： Basing on Wittgenstein's “the meaning of a word is in its use”, the au thor pointed out four uses of aesthetics out of its corresponding forms: of beauty, unity, transcendence, and tension. Following the discussion of the transcen dence of “post－practical aesthetics” in China in 1990s, the author pointed out rationalism as the limit of practical aesthetics and demonstrated the transcendence of Schopenhauer over Hegel, of Nietzsche over Schopenhauer, and of Heidegger over Nietzsche. He pointed out that the “transcendence” is by nature another “unity” of perception with rationality.