审美即政治——论康德共通感理论的三种当代阐释

Aesthetics as Politics: Three Contemporary Interpretations of Kant's “Sensus Communis”

共通感概念自康德以降变成一个重要的美学概念,与趣味、判断力等概念一道为美学提供了可资运用的工具。到了二十世纪,德裔政治思想家阿伦特对于共通感概念的阐释改变了其原有的问题域,使之变成一个伦理—政治分析的工具,她还将之运用于对艾希曼事件的分析之中;与此同时,法国社会学家布尔迪厄与英国批评家伊格尔顿都将共通感看作是一个虚伪的资产阶级谎言,从而将其变成一个具有社会批判功能的概念。然而,法国当代美学家朗西埃则与阿伦特一样,采用了将共通感作为积极建构的阐释,并将之运用于布尔迪厄和伊格尔顿所处的文化政治领域,从而形成了第三种阐释的方式。这三种阐释路径共同构成了当代共通感理论阐释的政治维度,使其剥离了原有的纯粹美学语境。

Sensus Communis,which had been turned into an important concept in the pedigree of Western aesthetics since the publication of Critique of Judgment,together with ＂taste＂and ＂judgment＂,became the important conceptual instruments for investigating aesthetic problems. In the twentieth century,the famous German-American political thinker Hannah Arendt has changed the problematic of the concept,and transformed it into an instrument for ethic-political analysis so as to analyze the event of Eichmann; meanwhile,the French sociologist of world fame Pierre Bourdieu as well as the British cultural critic Terry Eagleton argued that the concept had totally been a lie of the bourgeois or the middle class,as a result of which the concept was interpreted into an instrument for social critique. As far as the contemporary scholar Jacques Rancière has put the concept in Arendt＇s sense into Bourdieu＇s problematic,which means culture politics,the third way of interpreting sensus communis emerged. The three different ways of interpretation have contributed to a new dimension of the concept,namely,the political dimension,and as a result,the concept has been completely deprived of the original context of pure aesthetics.