维特根斯坦哲学视野中的九鬼周造美学建树——以九鬼之“いき”论为聚焦点

Kuki Shūzō's Theory of Iki Reconstructed from a Wittgensteinian Perspective

学术界素来习惯于在海德格尔的思想框架中理解京都学派哲学家九鬼周造在其《‘いき’之构造》中所表达的美学观点,而这种解读传统本身则或许是得缘于九鬼本人曾在德国求教于海氏这一偶然性事实。但这种理解方案或许对两人之间的一些实质性思想差异估计不足。相比较而言,在维特根斯坦的思想框架中重构九鬼的"いき"论,则是一个很具诱惑力的新选项。两者之间的平行关系在于:第一,九鬼的"いき"论植根于江户町人文化的真实语言实践,就像维氏的语言游戏论植根于俗常百姓的真实语言实践一样——因此,研究者便可以通过对于江户时期町人文化现象的人类学研究和语言学研究来为"いき"论祛魅。譬如,对于"いき"这个假名单词的用法考察,就可以为我们清晰地展现出该词所蕴含的意义关联网络。第二,维氏"遵从规则论"对于规则自身权威的强调,也可以在九鬼"いき"论所牵涉到的异性关系中找到类似的表达。"いき"的三个具体环节——"媚态"、"意气地"和"谛观"——就清楚地表达出了与之相关的三条规范性规则:作为正题的"饱含风情地屈从于游戏伙伴"、作为反题的"在游戏伙伴面前对于自身尊严的彰显",以及作为合题的"对于游戏过程自身的云淡风轻式的忘却"。第三,和维特根斯坦对于"样本"在语言游戏中所扮演的角色相呼应,九鬼也在讨论"いき的外延性表现"时提供了关于"いき文化"的丰富样本。由此,对于颜色样本的语法空间的维特根斯坦式讨论,便可以依据这一思路成为某种哲学参照系,以便利于九鬼的读者重新理解其对于富有"いき"特征的色彩所作的美学分析,以及其勾勒的"审美价值六面体"所具有的某种跨文化的先验意义。总之,素来被视为欧陆哲学外围的日本京都学派哲学,一旦被重置入当下作为西方哲学之主流的分析哲学的框架中予以重新解读,就很可能会被激发出一些崭新的意义面相,以利于深化东、西方之间的哲学对话。

Although to interpret Kuki Shūzō＇s The Structure of Iki in the light of Heidgger＇s phenomenology,which was exactly what Kuki learned when he was in Germany,looks like a quite natural interpreting strategy,the author of this article still wants to argue that Wittgenstein can offer a better interpreting framework for Kuki＇s aesthetics. The parallelisms between the two philosophers can be unpacked as below： Firstly,both philosophers focus on the linguistic activities of ordinary people—more specifically,in Kuki＇s case,his focus is on how language-games on ＂iki ＂ is actually played in the so-called ＂Edo Culture＂,the linguistic and anthropological inquiries into which would greatly facilitate the ＂disenchantment ＂ of ＂iki ＂ itself; Secondly,both philosophers indentify the implicitly functioning mechanism of authority either in language-games in a general sense or in those related to ＂iki ＂ alone—more specifically,in Kuki＇s case,the specific language-games on ＂iki ＂can be unpacked as three elements –＂bitai ＂,＂ikiji＂and ＂akirame＂—each corresponding to three sub-rules concerning ＂iki＂respectively,namely,＂to subject oneself to another language-game player in a parody of coquetry ＂as a thesis,＂to show one＇s own pride and honor before other language-game players＂as an anti-thesis,as well as ＂to tolerate sufferings by showing indifference to them＂as a synthesis. Thirdly,both philosophers have a deep understanding of what significant role that ＂samples＂do play in relevant games. More specifically,Wittgenstein＇s discussion of the ＂grammar of colors＂or samples of colors can be used as a perfect framework in which Kuki＇s aesthetical assessment of typical colors favored by the criteria of＂iki＂,as well as his elaboration of the so-called ＂hexahedral of aesthetical values＂,could be reconstructed in a manner by which its transcendental（ and hencecross-cultural） dimension is revealed. In short,once historically continental-philosophy-related Kyoto School philosophy,of which Kuki＇s theory of ＂iki＂is an excellent representative,is reconstructed in the spirit of the Anglo-phone analytical philosophy, new aspects of contemporary Japanese philosophy would emerge as new inspirations for deepening the philosophical dialogue between the East and the West.