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萨特早期哲学中内含的美学是一种虚无论美学。萨特认为,人的存在作为自为的存在就是虚无与自由,虚无与自由构成了人的存在的本体论规定。美与艺术的存在同样以虚无和自由的本体论为其依据。不仅如此,人的存在作为虚无的存在就是欠缺,欠缺构成了价值的本性和起源。美作为自为的欠缺的所欠缺者就是一种作为超越性价值的存在,它具有既存在又不存在的双重特征。因此,审美只能以想象的方式才能实现。想象的本质特征是虚无化,而美对对象的审美提升实际上就是想象性意识对对象的虚无化。想象构成了虚无论美学的审美方法论,它把萨特的虚无论美学贯穿为一个美学本体论、美学价值论与审美方法论相统一的理论整体。
Aesthetics contained in Sartre’s early philosophy is a kind of virtual aesthetics. Sartre argues that the existence of human existence as selfhood is the noumenal stipulation of the existence of human being by nothingness and freedom. The existence of beauty and art is also based on the noumenal and free ontology. Not only that, the existence of human existence as nothingness is lacking, the deficiency constitutes the nature and origin of value. The lack of beauty as a flawed self is a kind of existence as transcendental value, with the dual characteristics of being and not. Therefore, aesthetic can only be achieved by imagination. The essence of imagination is nothingness, but the aesthetic promotion of the object to the object is actually the nihility of the object of imagination. Imagination constitutes the aesthetic method of aesthetics, regardless of aesthetics. It permeates Sutth’s aesthetics of nothingness into a theory that is unified by aesthetic ontology, aesthetic theory of value and aesthetic methodology.