审美心理分析与现象学美学阐释——20世纪80年代以来“意象”美学的本体论建构

The Analysis of Aesthetic Psychology and the Interpretation of Phenomenological Aesthetics:The Ontological Construction of the Aesthetics of“Imagery”since the 1980s

20世纪80年代以来“意象”美学的本体论建构有两条重要的阐释路径:一是从传统的主客二分式的哲学观念出发,倡导哲学—心理学的方法,将“意象”作为文艺与审美心理学的对象加以把握,重视“意象”作为一种美感经验与心理事实的存在和其对于审美和艺术活动的意义。这条阐释路径的形成与朱光潜美学的影响密切相关,代表人物有汪裕雄、顾祖钊、夏之放等。另一条路径则是试图将中国传统意象美学与现象学美学资源整合起来,突破传统的主客二分的理论模式,将“意象”看成是主体与客体、现象与本体、人与世界不分的意向性活动的产物。张世英、叶朗、杨春时的“意象”美学的本体论建构以及学术界一些人对“意象”的身体现象学的解读,均体现了这一特色。

Since the 1980s,there have been two important approaches to the ontological construction of the aesthetics of“imagery”.One is to advocate the philosophical-psychological method from the traditional philosophical concept of subject-object dichotomy,and to understand“imagery”as the object of literature,art and aesthetic psychology.This approach emphasizes the existence of“imagery”as a kind of aesthetic experience and psychological phenomenon,and underlines its significance in aesthetic and artistic activities.The other approach consists in the integration of the traditional Chinese aesthetics of imagery and phenomenological aesthetics,and breaks away from the traditional theoretical mode of subject-object dichotomy.This second approach regards“imagery”as the product of intentionality,which unifies subject and object,phenomenon and noumenon,human beings and the world.