欢迎访问《文艺理论研究》,

文艺理论研究 ›› 2021, Vol. 41 ›› Issue (5): 68-78.

• 西方文论 • 上一篇    下一篇

思辨美学与主客关系:以安东尼奥尼与贝克特为例

陈畅   

  1. 南京大学外国语学院
  • 出版日期:2021-09-25 发布日期:2021-09-26
  • 作者简介:陈畅,南京大学外国语学院助理研究员,主要从事戏剧研究、西方文论研究。
  • 基金资助:
    南京大学优秀博士研究生创新能力提升计划A

Speculative Aesthetics and Subject-Object Relation: Michelangelo Antonioni and Samuel Beckett as Examples

Chen Chang   

  1. School of Foreign Studies, Nanjing University
  • Online:2021-09-25 Published:2021-09-26
  • About author:Chen Chang is an assistant researcher in the School of Foreign Studies, Nanjing University. Her research interests include theatre studies and Western literary theory.
  • Supported by:

    the program A for Outstanding PhD candidate of Nanjing University

摘要:

思辨实在论探问人类主体思维框架之外的客体实在。在此辐射下,西方美学界近五年出现了由诸多分支构成的思辨美学思潮,引发了现有艺术范式的转型,但其中以思辨唯物主义与以客体导向本体论为起点的两派美学讨论各自为营。本文尝试以思辨美学何以谈论人类主体思维框架之外的艺术——即其如何以全新的方式解决艺术的主客关系问题——为线索,厘清思辨美学思潮内部各条分支脉络间的张力与互通,并最终落脚于海勒客体导向探问美学范式对于西方现有思辨美学形态的补充作用与优势地位,且以安东尼奥尼与贝克特的艺术创作为例证予以检验。本文对思辨美学的梳理及对海勒范式的阐发旨在证明,思辨美学并非如思辨实在论一般取消与驱逐人类的位置,而是力图超越人类中心视阈并真切体现艺术家、艺术作品与受众间主客平等共生的联结。

关键词:

思辨实在论, 思辨美学, 海勒, 安东尼奥尼, 贝克特

Abstract:

Speculative realism explores the substance of objects existing outside of humans’ subjective frame of thought. Under its radiation, Western aesthetics in the last five years has developed a new trend of speculative aesthetics composed of various branches, stimulating a shift in existing art paradigms. However, inside this trend, two camps of aesthetic discussions, with speculative materialism and object-oriented ontology as their respective starting points, are in great division. This article attempts to work through and clarify the tension as well as interaction among the various branches of speculative aesthetics, by mainly focusing on how speculative aesthetics talks about art outside of humans’ subjective frame of thought—that is, how it solves the subject-object relationship of art in a brand-new way. This article finds its foothold in N. Katherine Hayles’s object-oriented inquiry, which complements and shows advantage against the existing speculative aesthetic modes, and takes the artistic creation of Michelangelo Antonioni and Samuel Beckett as examples. By mapping out the landscape of speculative aesthetics and by interpreting Hayles’s aesthetic paradigm, this paper intends to demonstrate that speculative aesthetics, unlike speculative realism, does not remove or expel humans’ mediating roles; rather, it tries to transcend anthropocentrism and truly display the equal and symbiotic subject-object relationship among artists, artwork, and the viewers.

Key words:

speculative realism, speculative aesthetics, N. Katherine Hayles, Michelangelo Antonioni, Samuel Beckett