未完成的审美现代性计划与无理论的哲学——以麦克卢汉、海德格尔以及卢卡奇和德里达为中心

The Unfulfilled Project of Aesthetic Modernity and the Philosophy without Theory:Centered on McLuhan,Heidegger,Lukacs,and Derrida

麦克卢汉褒"听觉空间"而贬"视觉空间",与此类似,海德格尔扬"环视"而抑"向视",他们的理论在前者对后者的一次援论中相遇。这次相遇具有交相辉映的效果。这一事件揭开了现代欧陆哲学、美学和艺术的一个重要的论题,即"审美现代性"的内在矛盾:审美现代性并不能完成其现代性批判的使命,相反它与现代性同根同源,甚或同谋。海德格尔虽然揭露了"美学""体验"的认识论残余,但他将思归入物或消弭于日常生活空间,严重削弱乃至取消了哲学的批判功能。对于海德格尔哲学的反认识论局限,卢卡奇和德里达均有发现和批驳。然无论将思视为符号游戏抑或事物的自然显出,都是片面的。实际上,思在物中,也在其外。审美活动或许最能体现思于物的双重位置。

McLuhan praises acoustic space and disparages visual space.Similar to McLuhan,Heidegger prefers Umsicht,e.g.in the space of everyday life,to Hinsicht.These two thinkers encounter one another in a quotation about Umsicht which McLuhan drew from Heidegger.Their meeting not only helps to clarify their theories on a larger scale,more importantly,reveals the inner contradiction of the aesthetic modernity which has been highly valued by aestheticians and artists:that aesthetic modernity cannot fulfill its mission to overcome the side effects of modernity because it is part of that modernity.Although Heidegger successfully shows the epistemological residues of modern aesthetics and art,he seriously weakens or even dismisses the critical function of philosophy.Both Lukacs and Derrida spot the lack of epistemology in Heidegger's Thinking(Denken).In fact,Thinking not only exists inside the thing,but also outside it.The two positions of Thinking may be well performed by aesthetic activities.