摘要
本文认为不应仅仅在黑格尔直接关于艺术的论述中去理解他对于艺术的全部思想。艺术在黑格尔这里,除了作为一种特定的形态,它更重要的是作为精神的重要环节、作为一种重要的规定性,是直观、表象、概念这最大的三环节中的一环。在这种认识下,我们可以更为深入地以他对于环节规定性的多方面论述,来思考艺术多方面的性质以及多层面的意义;同时,也可以看到艺术在他思想中更大的意义以及艺术在更大范域中的呈现。在这种视域下,可以看到,黑格尔对于艺术有一个规定、否定、再规定的理论构建。艺术作为仅仅的规定,是感性直观,它本身就具有消逝的时间性特征,并且作为时间中的一个阶段,它是过去的。但是,过去的艺术并没有消失,它在宗教中继续它的发展,这种发展是对它原有规定的一种否定,但这种否定推进艺术走向现代;黑格尔没有正面言说在思想的时代艺术将会是什么形态,但是他确实在思想的时代给艺术留下了重要的位置,对于这个位置的理解,可以感受到艺术在思想时代具有多重可能。思想时代的艺术,被思想重新赋予它的形态和规定,只是,这个再赋予里,艺术已经脱去了最初的直观,而是和概念结合在一起成为自由的。我们看到,这个否定之否定的过程,正体现了黑格尔理论最基本的方法模式:“真的无限”。
Hegel's thought on art should not be understood only in his direct discourse on art.For Hegel,apart from being a specific form,art is more important as an important phase or determination of the spirit,and it is one of the three biggest phases of intuition,representation and concept.With this understanding,we can think more deeply about the multi-faceted nature and multi-layered meaning of art with his exposition on the characteristics of phases;at the same time,we can also discover the greater significance of art in his thought and the presentation of art in a larger context.From this perspective,it can be seen that Hegel has a theoretical construction of Determination,Negation,and Re-determination of art.Art,as a mere determination,is perceptual intuition,which itself has the temporal character of evanescence,and as a moment in time,it is past.However,the art of the past did not disappear,it continued its development in religion,and this development was a negation of its original determination,but this negation propelled art towards modernity;Hegel did not describe what form will the art be in morden,but he did leave an important position for art in the age of thought.The understanding of this position shows that art has multiple possibilities in the age of thought.Art in the age of thought has been re-determined by thought to its form and determination,but in this re-determined,art has lost its original intuition,but has been combined with concepts to become free.We can see that this process of negation of negation embodies the most basic method model of Hegel's notion:“true infinity”.
作者
李钧
Li Jun(Department of Chinese Language and Literature,Fudan University)
出处
《美学与艺术评论》
2022年第2期1-19,274-275,共21页
Journal of Aesthetics and Art Review
基金
上海市哲学社会科学基金规划一般课题:“走出《美学》:黑格尔整体思想视域下的美学思想再研究”(2017BWY008)的阶段性成果
关键词
规定
感性
时间
真的无限
否定之否定
教化
回忆
determination
aesthetic
time
true infinity
negation of negation
education
recollection
作者简介
李钧,男,1969年生,江西人,文学博士,复旦大学中文系教授,主要研究方向为西方美学史、美学理论、文学理论、中国美学史。
