感性学的历史、危机与新生——当代德国美学的重构路径

The History,Crisis,and Revival of Aesthetica:The Reconstruction Path of Contemporary German Aesthetics

从亚里士多德的三分法,到休谟时代的鉴赏论和鲍姆嘉通的低级认识论,再到康德对反思判断力的先验阐明,感性学赢得了其否定和肯定的定义:作为基于“感性认识”与“认识诸能力间游戏”的活动,感性学区别于理论认识与道德实践。但因其未超出认识论,所以此类定义没能给“感性”提供充足的自律空间,导致它在黑格尔、谢林之后陷入智性主义的艺术哲学,并受到当代观念艺术的严重挑战。为了重构“感性学”,泽尔、伯梅、门克等当代德国美学家聚焦于经验过程本身,提出了“显现”“气氛”“力”等理论,将“感性”澄清为时间性、空间性、身体性与模糊性,不仅使感性学区别于理论与道德的超时空性、非身体性与确定性,还使它获得了更为独立且更具兼容性的当代视野。

From Aristotle's trichotomy,through Hume's standard of taste and Baumgarten's theory on the inferior faculty of knowledge,and ultimately to Kant's transcendental exposition of reflective judgment,has aesthetica gradually acquired its negative and positive definitions:as activities based upon"sensible cognition"and interplay of cognitive faculties",aesthetica distinguishes itself from theoretical cognition on the one hand and moral practice on the other.Nevertheless,just because these definitions did not go beyond epistemology nor provide any self-sufficient space for the"aesthesis",aesthetica fell into an intellectualist philosophy of art soon after Hegel and Schelling,and was seriously challenged by the conceptual art in contemporary times.In order to reconstruct aesthetica,contemporary German aestheticians including Martin Seel,Gernot Bohme,and Christoph Menke have put forward theories about"appearing","atmosphere"as well as""force",focusing on the process of experience itself.Aesthetica becomes more clearly defined by these German aestheticians as temporality,spatiality,corporeality,and ambiguity,all of which are distanced from the so-called timelessness,spaceless-ness,bodiless-ness,as well as certainty characteristic of epistemology and ethics.In this way,a more independent and compatible horizon will hopefully be opened for aesthetica.