论生态美学与生态批评的困境及出路——从王诺生态批评谈起

On the Predicament and Outlet of Ecological Aesthetics and Eco-criticism:Starting from Wang Nuo's Eco-criticism

当今生态美学与生态批评之所以面临困境,原因在于把西方生态学关于人类主体对自然界过度改造而导致的恶果反思,当作了审美活动批评的标准,以生态学僭越美学,造成了人为的自然生态审美与人的对立。“科学—工具”主义造成的生态危机,促使人们对人类中心主义进行批判,诉求生态系统和谐发展。人作为主体参与到审美活动,这种主体性参与是审美活动中无法取消的底线。坚持自然生态审美的自然性、生态性,不能彻底排斥人的主体性参与。因此,克服生态批评的困境需要我们重新认识人的主体性在生态审美中的重要性,在理论迁移时注意中西美学分属于不同的“时空”语境,如此才能在具体生态批评实践中避免“强制阐释”,同样也是生态美学未来的出路。

The reason why ecological aesthetics and eco-criticism are facing difficulties today is that the reflection of western ecology on the evil consequences of human beings'excessive transformation of nature is regarded as the standard of aesthetic activity criticism,and ecology arrogates aesthetics,which results in the antagonism between the artificial natural ecological aesthetics and human beings.The ecological crisis caused by the“science—tool”doctrine prompts people to criticize the anthropocentrism and call for the harmonious development of ecosystem.As the main body,people participate in aesthetic activities,which is the bottom line that cannot be cancelled in aesthetic activities.While adhering to the naturalness and ecology of natural ecological aesthetics,we cannot completely exclude people's subjective participation.Therefore,to overcome the dilemma of eco-criticism,we need to have a new understanding of the importance of human subjectivity in ecological aesthetics,and pay attention to the different“spatio—temporal”contexts of Chinese and western aesthetics in the transfer of theories.Only in this way can we avoid“forced interpretation”in the specific practice of eco-criticism,which is also the outlet for the future of ecological aesthetics.