作为打开欧洲“未思”的手段——朱利安中国古典美学建构之解析

An Access to Europe’s “L’impensé”: Francois Jullien’s Conceptualization of Classical Chinese Aesthetics

法国汉学家朱利安在其一系列论著中,建构了以"平淡""非-客体""去本体论""内在性"等为特征的中国古典美学。朱利安的目的是借呈现中国从而打开欧洲思想的"未思",不过,其中国美学解读方案听上去更像福柯、德勒兹等人后结构主义思想的某个"变种",这让人怀疑朱利安对中国的呈现是否更像一种"发明"。从深层的论证逻辑来说,朱利安在许多方面仍然延续了黑格尔-韦伯讨论中国思想时的做法,只不过是在新的哲学情势下颠转了黑格尔原来的负面评价,精巧的论述之下并没有表现出其对于汉学史成见的深刻反思。同时,朱利安重视"形式现实化之前之未分化基底",这一海德格尔式的致思方式具有不介入、非政治性的倾向。这样做即便具备巨大的哲学/美学雄心,实际上却在现实社会(政治)难题面前犹疑、迟宕,阻碍人们审辨、提出当代一些至关重要的问题,因而其美学建构的当代政治相关性也是可疑的。

The classical Chinese aesthetics that French sinologist Fran?ois Jullien tries to construct is centered on such notions as plain(la fadeur), non-objet, désontologie, and l’immanence.In so doing, Jullien aims to give Europe an access to "l’impensé" via Chinese aesthetics. However, his endeavour presents itself to be more like a derivative of post-structuralist theories of Foucault and Deleuze and an invention than a reliable representation of China. On the fundamental level, Jullien’s views of Chinese thought follows those of Hegel and Max Weber.Although he tries to reexamine Hegel’s negative comments on China, his seemingly exquisite discussions fail to rectify the stereotyical notion of European Sinology. Meanwhile, Jullien values the Heideggerian concept of "the undifferentiated basis prior to the realization of form," which has a non-interventional and non-political import. Despite this philosophical ambition, Jullien fails to reach out to reflecting contemporary socio-political problems and therefore his aesthetic construction entails questions in terms of its relevance to current politics.