从建构到再生产的现代性审美主体

The Aesthetic Subject from Construction to Reproduction

现代美学理论源自现代性的生活范式及其困境。在近代社会早期,理性主义为了捍卫世俗的审美判断的合法性,对自然性和偶然性发起了批判,使得美的概念从外在于理性主体的领域回到主体本身。在启蒙运动时期,政治哲学对美学的介入,一方面使得审美成为了个体自由最为纯粹与现实的领域,另一方面则激发了回归原初人性的浪漫主义对理性主义与新古典主义的挑战。康德哲学作为美学从近代走向现代的转折点,不仅对主体自因的先天的审美判断能力加以辩护,更是以审美判断为现代人留下了展望主体自由的价值空间。但是,当资本化的文学与艺术逐渐被纳入了市场、知识与权力的再生产结构,抽象主体与形式的美无法再维持其直接性与自明性,而广义上的批判理论则试图揭示艺术再生产的意识形态特征及其对主体强行塑造的现实。

Modern aesthetic theory stems from the modern life paradigm and its dilemmas.In the early modern period,rationalism launched a critique of naturalness and contingency in order to defend the legitimacy of secular aesthetic judgements,bringing the concept of beauty back to the subject itself from the realm external of the rational subject.During the Enlightenment,the intervention of political philosophy in aesthetics,on the one hand,made aesthetics the purest and most realistic domain of individual freedom,and inspired a Romantic challenge that called for returning to the original humanity to Rationalism and Neoclassicism on the other hand.Kant’s philosophy,as the turning point of aesthetics from the early modern era to the modern era,not only defended the innate aesthetic judgement of the subject’s self-causes,but also left modern man a space of value to look forward to the freedom of the subject with its aesthetic judgement.However,as capitalised literature and art are gradually incorporated into the reproductive structures of the market,knowledge,and power,the beauty of the abstract subject and form can no longer maintain its immediacy and self-explanation,and critical theory in a broad sense seeks to reveal the ideological character of artistic reproduction and the reality of its forcible shaping of the subject.