生机论美学:从德勒兹到朗西埃

Vitalistic Aesthetics:From Deleuze to Ranciere

德勒兹和朗西埃的再现批判项目在生机论脉络上重新定义艺术自律,反思流行的艺术自律论与再现的勾连,用生命诗学取代有机诗学。德勒兹引入生命和生成的观念,认为自律的作品就是纯粹感觉的团块,文艺创造把潜在从现实中解放出来并假定其有效性,由此带来全新的叙事方式。朗西埃延续了德勒兹生机论的思考,但质疑德勒兹以文学形而上学来反对再现诗学的进路,在美学体制内将艺术作品的自律移转为生命形式的自律,指出现代小说结构是不同感觉团块叠加碰撞的异识体,现代主义生命诗学是感性共存的矛盾诗学。

Deleuze and Rancière's project of representational criticism redefines artistic autonomy in the context of vitalism,reflecting on the connection between popular artistic autonomy and representation,and replacing organic poetics with life poetics.Deleuze introduces the concepts of“Life”and“becoming,”arguing that works of autonomy are blocs of pure sensation.Literary creation liberates the virtual from its actualizations and assumes a validity of its own,leading to a fundamentally new type of narration.Rancière builds upon Deleuze's thoughts on vitalism,but questions Deleuze's approach of proposing a metaphysics of literature against representational poetics and transferring the self-regulation of works of art to self-regulation of life within the aesthetic regime.He points out that the structure of modern novel is a dissensual figure that superimposes different blocs of sensations,and the modernist poetics of life is a contradictory poetics where in sensations coexist.