论生命形式在文论和美学中意义.PDFVIP

论 “生命形式”在文论和美学中的意义 顾祖钊 内容提要： 本文认为苏珊 朗格提出的生命形式论，是对西方传统文论的继承和超越，有着深 · 厚的学理渊源，同时也是对20 世纪主流形式论和 “语言学转向”的负面效应的即时 反拨。更重要的是，它在 “后形而上学”时代的文论和美学建设中有着巨大的理论 意义。不仅可以大面积地激活中国古代文论，创建一种中西融合的以生命形式为中 心的文论体系；而且可以使美学摆脱唯物与唯心、理性与非理性、一元与多元、绝 对与相对等哲学问题的纠缠，走出西方美学的窠臼，以中国这种对西方来说标准的 “他者文化”和道家思维方式为基础，重建一种新的生命美学。 关 键 词： 生命形式 文论和美学的重构 道家思想方法 Abstract: This article argues that the notion of life form as proposed by Susanne Langer both inherits and transcends traditional Western literary theories. Being deep-rooted in philosophical genealogy, it punctually reverses the negative impact made by mainstream theory of formalism and “the linguistic turn” in the twentieth century. What is far more important is its theoretical significance to critical and aesthetic construction in the post- metaphysical era. It can not only activate China’s classical literary theories on a large scale so as to generate a life-oriented literary theoretic system but also free aesthetics from the binary constraints such as materialism vs. idealism, rationalism vs. irrationalism, and the absolute vs. the relative. Breaking through the conventions of Western aesthetics, the notion of life form can be based on Chinese culture and the mindset of Taoism which might be seen as a typical culture of the other by the West so as to reconstruct a new kind of life aesthetics. Key words: life form; critical and aesthetical reconstruct; Taoist thinking and research 如果说传统的内容决定形式论，为19 世纪俄罗斯现实主义文学推波助澜，推动了 它的辉煌和繁荣的话；那么，“形式”的 “反叛”也自俄国开始，导致了20 世纪形式主 义文论风行欧美而盛极一时；但20 世纪末叶，西方文化研究，又重新回到所谓的 “外 · 部研究”。正如希利斯 米勒所指出的：20 世纪70 年代以来，西方发生的 “文化转