中国当代美学的“主客二分”问题

The Issues of “Subject-Object Dichotomy”of Contemporary Chinese Aesthetics

"主客二分"既是一种思维方式也是一种生存方式,作为近代以来人的主体性全面崛起的标志,它不仅指向认识论的"物我关系",也包括本体论重建的"人己关系"。由于缺乏审视自身美学进程及其内部复杂矛盾的历史纵深,中国当代美学在引进海德格尔哲学的同时,对"主客二分"采取了盲目的否定态度。然而当今似居"独尊"地位的"生存本体"并非对"主客二分"的超越,不过是从认识论的"物我二分"转向本体论的"人己二分"。认识论的物我关系有自然和社会之分,本体论的人己关系亦有内在和外在之分,"生存本体"作为本体论人学重建的内在方面,不过是整个现代美学理论建构的一个分支或组成部分,中国当代美学当从"主客二分"的全局视野理解认识论和本体论问题,从而使悬空飘摇的"生存本体"落在社会生活的基础上,走出困境以求得真正的发。

＂Subject-object dichotomy＂ is both a way of thinking and a manner of existence, which, as a sign of the rise of man＇s subjectivity in modern era, not only points to the ＂subject-object relationship＇of epistemology, but also includes the ＂interpersonal relationship＂ of ontology reconstruction. The ＂existential ontology＂ is not beyond the ＂Subject-object dichotomy＂, but simply a transition from the＂subject-object dichotomy＂ of epistemology to the ＂interpersonal dichotomy＂ of ontology. The ＂subject-object relationship＇of epistemology falls into two aspects as nature and social, while the ＂interpersonal relationship＂ of ontology contains two aspects as inherent and extrinsic. ＂Existential ontology＂, as the inherent aspect of ontological anthropology, is nothing more than a branch or a part of the theoretical construction of modern aesthetics.