论“审美无利害”的缘起

On the Origins of“Aesthetic Disinterestedness”

本文为斯托尔尼茨对“审美无利害”这一概念缘起的研究,主要从两个方面展开。首先,他讨论了沙夫茨伯里与其继承者伯克、艾利森对这一概念的创造与发展。沙夫茨伯里首次把“无利害”这一概念从伦理学领域延伸到美学领域,提出了“审美无利害”,伯克和艾利森继承和吸收了沙夫茨伯里的观点,伯克运用“无利害”这一概念来解释“美”和“崇高”等其他概念,而艾利森则提出了适合审美对象的“心境”这一观点,赋予了“无利害”新的意义,在美学与非美学之间做出了更细微的区分,伯克和艾利森对“无利害”概念的发展使其达到了一个新的高度。其次,斯托尔尼茨基于艾迪生的《旁观者》论证了“无利害”在18世纪英国美学发展史上的重要影响,这种影响一方面在于它改变了美学理论的概念,另一方面则在于它改变了美学试图要去做的事情。基于此,斯托尔尼茨认为“无利害”概念是美学史上的一个重要分水岭,其影响不仅是巨大的,而且是决定性的,应当以此为基础理解现代美学理论。

This paper is Stolnitz’s research on the origins of“aesthetic disinterestedness”,mainly from two aspects.Firstly,he discusses the creation and development of the concept by Shaftesbury and his successors Burke and Allison.Shaftesbury extended the concept of“disinterestedness”extend from field of ethics to the field of aesthetics for the first time,put forward the“disinterestedness”,Burke and Allison inherited and absorbed the shaftesbury’s point of view,Burke used the concept of“disinterestedness”to explicate other concepts,such as“beauty”and“sublimity”.And Allison put forward the view of“state of mind”which suits with the aesthetic object,gave new meaning to“disinterestedness”,and made a more subtle distinction between aesthetics and non-aesthetics.Burke and Allison’s development of the concept of“disinterestedness”brought it to a new height.Secondly,based on Addison’sSpectator,Stolnitz demonstrates the important influence of“disinterestedness”on the development of English aesthetics in the 18th century,on the one hand it changed the concept of aesthetic theory,on the other hand changed what aesthetics tries to do.Based on this,Stolnitz believes that the concept of“disinterestedness”is an important watershed in the history of aesthetics,and its influence is not only huge,but also decisive,so modern aesthetic theory should be understood on this basis.