“剧场隐喻”中“旁观者”视角的重建——马克思的作为社会科学方法论辩证法生成之关键

Reconstruction of the“Spectator”Perspective in“Theatre Metaphor”:The Key to the Generation of Marx’s Dialectics as a Methodology in Social Sciences

“剧场隐喻”中直接出现的是“剧作者”和“剧中人”,也隐含着“旁观者”视角,故这一隐喻中的三重视角及其间的关系可用来考察马克思辩证法与康德、黑格尔辩证法之异同及其超越之处。马克思一方面超越了黑格尔的无限主体,立足于人的有限性阐明了“剧中人”如何亦是“剧作者”;另一方面则借助黑格尔能动性辩证法重构了康德哲学的有限的“旁观者”视角,实现了“旁观者”与作为“行动者”的“剧作者”及“剧中人”的统一,从而解决了有效改造世界何以可能之问题。从“旁观者”视角的重建所理解的马克思作为社会科学方法论的辩证法,对于正在急切进行中的中国特色哲学社会科学的构建有着重大的典范性意义。

What appear directly in“theatre metaphor”are both“playwright”and“dramatis persona”,butit also implies a perspective of“spectator”.Therefore,the three perspectives in this metaphor and the relationship among them can be used to examine the similarities and differences in dialectics between Marxand Kant and Hegel and his transcendence.The transcendence lies in that Marx,on the one hand,transcends Hegel’s infinite subject and based on human finitude,explains how“dramatis persona”is also“playwright”;on the other hand,with the help of Hegel’s dynamic dialectics,he reconstructs a limited“spectator”perspective of Kant’s philosophy and realizes the unity of“spectator”and“playwright”as“actor”and“dramatis persona”,thus solving the problem of how it is possible to effectively transform the world.Marx’s dialectics as methodology in social sciences understood in the reconstruction of this“spectator”perspective is undoubtedly of great exemplary significance to the construction of philosophy and social sciences with Chinese characteristics which is under urgent progress.