论文标题:试论康德哲学的二向度思维与康德美学的二重结构
On the Bidirectional Thinking of Kant"s Philosophy and the Dual Structure of Kant"s Aesthetics
论文作者 李伟
论文导师 陈文忠,论文学位 硕士,论文专业 文艺学
论文单位 安徽师范大学,点击次数 113,论文页数 84页File Size4686k
2005-05-01论文网 http://www.lw23.com/lunwen_907343122/ 康德美学;二向度思维;二重结构;纯粹美与依存美;鉴赏与天才;美的理想与审美意象;康德之后
Kant"s aesthetics; the bidirectional thinking; the dual structure; the free beauty and the dependent beauty; taste and talent; the ideal of beauty and aesthetics idea; Post-Kant
本文从思维方式或者说康德哲学的致思向度和思辨结构的角度来探寻其先验美学的内在理路和逻辑进程,既从宏观角度整体上把握康德美学的结构特征,又从微观切入细绎康德美学诸要义的内在理路并对其重要的美学命题作力所能及的辨析。 所谓康德哲学的“哥白尼式的革命”是作为哲学思维范式的变革而出现的,这一变革带来了一个重大的哲学致思方式上的转向即由“知识依照对象”至“对象依照知识”。这样我们就必然要“从两个不同的方面来看待世界”即“以两种眼光看世界”。康德二分“对象”为“现象”与“物自体”,二分“主体”为“经验”(知识)与“超验”(本体),二分“知识”为“后验”(质料)与“先验”(形式)也是这一转向的必然结果。“两种眼光看世界”被我称之为“二向度思维”,它是康德先验美学总体特征的致思根源。正是康德哲学的“二向度思维”的致思方式带给了康德美学以“二重结构”的总体特征,这一特征又表现为诸多的“二元命题”:“美在形式”与“美是道德的象征”、“纯粹美”与“依存美”、“依存美”与“美的理想”(“审美意象”)、“鉴赏”与“天才”(艺术)——对这些命题较为精细的分析研究便构成了本文的核心部分。 “康德之后”的问题,也即康德先验哲学的“二向度思维”以及由此而来的康德先验美学的“二重结构”对我们的启示意义:就“理解”来说,它可以澄清我们对康德的误解和曲解,并在理解的基础上以期走近康德;同时,它对当下美学学科建设更有着某种不可忽视的建构和范导意义,在康德美学的映照下,中国传统美学的特征和不足就显得尤其明显了——“经验有余而先验不足”;另外,由“两种眼光看世界”所带来的“经验与超验”的致思方式不仅对诠释经典、哲学反思、亦对人生“在世”有某种不小的“范导”意义。
This thesis seeks the interior clue and logic process of transcendental aesthetics from the thinking paradigm of Kant"s philosophy or from its thinking direction and thinking structure, this text not only masters the structure character of Kant"s aesthetics from the whole macroscopic perspective, but also tries to anatomy its interior clue from the microcosmic perspective and discriminate some important aesthetic propositions in my power.The so-called "Copernicus type"s revolution" in Kant"s philosophy appears as thechange of the thinking paradigm of philosophy, which brings the change of one great turnin the thinking pattern of philosophy, i.e, from "the knowledge accords to the objects"to "the objects accord to the knowledge". So we must "treat the world from two differentaspects", i.e, "treat the world with two kinds of visions". Kant divided "object" into"phenomenon "and" thing in itself", and divided" subject "into" experience "(knowledge)and"transcendence" (noumenon)、and divided "knowledge" into "posterior" (metal)and"transcendental "(form)was the inevitable result of the turn. I call"treat the world with twokinds of visions" as "the bidirectional thinking", which is the origin of the whole characterof transcendental aesthetics. It is "the bidirectional thinking" pattern of Kant"s philosophythat brings the whole character of "the dual structure" to Kant"s aesthetics, which is shownas a great deai of "biproposition": "the beauty is shown in form" and "the beauty is thesymbol of moral", "the free beauty" and "the dependent beauty"、 "the dependent beauty"and "the ideal of beauty"、 "taste" (natural beauty)and "talent" (artistic beauty)- it is theelaborate analysis to these propositions that consists the pith of this thesis.The problem of "Post-Kant", i.e, the problem of enlightenment meanings to us on "the bidirectional thinking "of Kant"s transcendental philosophy and "the dual structure" of Kant"s transcendental aesthetics : as to " understanding ", it can clarify our misunderstanding and twisting to Kant, and help us to walk closely to Kant on the basis of understanding Kant; Meanwhile, it has an unignorable meaning in constructing and regulating modern aesthetics, the character and flaw of Chinese traditional aesthetics appear obvious, "experience is enough but transcendence is insufficient", comparing to Kant"s aesthetics; In addition, the thinking pattern that is brought by "treat the world from two different visions" brings a meaning not only to interpreting classics、 reflecting of philosophy、 but also a great meaning to the human living in the world.
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