摘要
达弥施借助康德的理论对弗洛伊德美学进行了改造,重新探讨了美的本质及其起源。他将美与艺术进行了再区分,厘清了美作为文明之产物的属性,确定了美是精神分析不可回避的领域;他认为美的事物是有其性根基的,但要依靠视觉兴奋的中介作用。视觉兴奋是“器官压抑”之后对嗅觉兴奋的替代,它将美导向次要的性特征,而主体在此过程中获得了愉悦感,不过这种愉快感又夹杂着因两性差异而带来的观看欲望。因此,美的起源是与愉悦和性别差异关联在一起的。达弥施的工作打通了精神分析与传统美学、艺术史之间的关联,将美的精神分析引向了观看、主体性与欲望领域,推进了精神分析美学。
Damisch reexamines the nature of beauty and its origin through an inventory of Freud’s and Kant’s discussions on beauty.He redistricts beauty from art,clarifies the attribute of beauty as a product of civilization,and then confirms that beauty is an unavoidable field in psychoanalysis.From this,he believes that beautiful thing has a sexual foundation,but only by relying on visual excitement.It is the replacement of olfactory excitement after"organ repression".It directs beauty to secondary sexual characteristics,and the subject also obtains a sense of pleasure in this process,but this pleasure is mixed with the desire to see due to sexual differences.Therefore,beauty is closely associated with pleasure and sexual difference.Damisch’s work breaks through the connection between psychoanalysis and traditional aesthetics,and art history,and leads the psychoanalysis of beauty to the field of viewing subjectivity and desire,which has a certain enlightening significance for psychoanalytic aesthetics.
出处
《艺术设计研究》
CSSCI
2022年第4期106-111,共6页
Art & Design Research
基金
2018年教育部人文社科项目“达弥施与20世纪艺术史书写的范式转换”(项目编号:18YJC760003)
2020年杭州市哲社规划课题“数字技术与当代中国文艺批评的范式转换”(项目编号:M21JC059)的阶段性成果。
关键词
达弥施
精神分析
美
艺术
愉悦
Hubert Damisch
psychoanalysis
beauty
art
pleasure
