比较美学:“本质主义”崩溃后的路向——岩城见一教授访谈-对谈录

Comparative Aesthetics: On its Possibility after the End of the"Essentialism" ——An Interview with Professor Iwaki Ken-ichi

在哲学的“语言论转向”后 ,形形色色的“本质主义”遮蔽了对艺术理解的多样性的事实昭然若揭。文艺复兴以后的“透视法”就是逐渐被构成主义构成的一个“本质主义”。比起帕诺夫斯基和冈布里奇 ,艺术理论家布里秋鲜为人知 ,但是他的“A -U关系理论” ,使超越“透视法”这一“本质主义”成为可能。“本质主义”崩溃后的 2 1世纪“比较美学”要致力于总结人类开放的想象经验 ,充分认识那些不能仅仅在语言意义上理解的艺术表现方式的内在逻辑。

After the'linguistic turn' of the philosophy, it has come to light that the frameworks of our experience, and our criteria of the truth are always changing and constructed not only in the human studies, but also in the natural sciences. From this viewpoint of the 'constructivism', we can never explain the artworks of various periods and societies from a single criterion such as 'perspective theory' in the sense of renaissance. Compared with the modern famous theoreticians of art, Panofsky or Gombrich for instance, who are bounded by the perspective theory and modern psychological theories, an unknown theoretician, G Britsch would give us a fruitful suggestion through his theory of the A-U relation. Comparative aesthetics of the 21st century should try to clarify the peculiar logic of the imaginative experience and expression which is never reduced to the linguistic meaning. It will make it possible to understand the human sense and sensibility in wider horizon.