从独一多样存在到艺术的多样性本质——让-吕克·南希对艺术本质的本体论思考

艺术的多样性,很长时间被看作艺术类别或等级的属性,或者是艺术表现形式的丰富性,而没有上升到本体论的高度上进行讨论。在《为什么有多种艺术而非仅仅只有一种?》一文中,南希把"外展"和"部分外在于部分"展开为艺术的多样性的本质。南希反对把艺术想象为各种感觉,拒绝在艺术的多样性与感觉的异质性之间建立类同性逻辑。他在感觉的综合的基础上发展出"交错"的概念,发掘了作为各种感觉之交错的触觉之于艺术多样性本质的意义。对于南希,只有当艺术触及自我、触及在世存在本身,它才能获得可触知的意义,这是艺术多样性的重要来源。因此,对作为艺术本质的多样性的思考,就是去敞开和外展出在世存在和多种艺术本身的意义。南希这一思想对于重新理解艺术本体及其意义生成方式、重新反思艺术终结论都有重要的启示意义。

The plurality of art,which has long been regarded as the attribute of category or the richness of expression forms,has not been discussed ontologically yet.In the treatise named"Why are there several arts and not just one?"Jean-Luc Nancy developed his notions of"exposition"and"parts extra parts"into the plurality of art,which is the essence of art in Nancy’s point of view.Nancy opposed to imagine the plurality of art as the variety of senses,refused to establish the similar logic between the plurality of art and the heterogeneity of senses.He proposed a new concept of"chiasmus"on the basis of the synthesis of senses and explored the significance of touching as the essence in the plurality of art which was viewed as the chiasmus of various senses.For Nancy,only when art touches itself or being-in-the-world itself,can it gain its tangible significance which is the crucial origin of artistic plurality.Therefore,to think about plurality as the essence of art is to disclose or expose the being-in-the-world itself and the plural arts themselves.Nancy’s thought cannot be ignored for the re-understanding of the phenoumenon of art,the singular forms of its sense,as well as the re-reflection of"the end of art".