作　　者： (林云柯）;

机构地区： 华东师范大学人文社会科学学院,上海200241

出　　处： 《上海大学学报（社会科学版）》 2017年第4期93-103,共11页

摘　　要： 分析美学是20世纪中叶于西方理论界兴起的重要美学思潮。但正如理查德·舒斯特曼在《分析美学》前言中所指出的,在分析美学这一范畴之中实际上蕴含着两种对于"分析"的不同理解。反本质主义与多元主义是其中的一种理解向度,"分析"的方法在其中通常被用于对艺术这一概念进行拆解。在另一种以分析哲学为基础介入艺术与美学研究的向度中,"分析"则呈现为一种基于人类感官与认识论法则的识别与连贯性建构。在后一向度中,"分析"并非仅仅作为一种艺术研究的外部方法,而是其自身呈现为艺术的一种自然状态,表象之于感官认识达到充足之处,即表象自然显现为艺术。叔本华的"充足理由律"作为人类思维达到充足性的认识论规则,感官认识中所自然呈现的规律在其中有着不可忽视的奠基作用,并暗示了一种基于宇宙学的原初艺术定义。 ＂Analysis Aesthetics＂ is a significant school which sprung up in middle of 20^（th） century.In the preface of Analysis Aesthetic,Richard Shusterman points out that,although sharing the same title of ＂analysis aesthetic＂,there are two different understandings of the term ＂analysis＂.According to the approach based on ＂anti-essentialism＂ and ＂pluralism＂,the method of ＂analysis＂is employed to dismantle the conception of ＂art＂.According to the other approach based on analysis philosophy,the method of ＂analysis＂ appears to be a kind of cognition and coherent construction based on human sensory organs and epistemological rules.In the later approach to understanding of art and analysis,＂analysis＂ is not simply an external method of art research,but also a ＂natural condition＂ of art in itself.That means so long as it gets the sufficient set in our senses,the presentation itself will emerge as something artful in nature.In the light of ＂the principle of sufficient reason＂proposed by Schopenhauer,which is an epistemology rule about getting the sufficient condition of cognition,the fundamental status of the rules naturally emerging from sensory cognition cannot be overlooked,implying an original definition of art based on Cosmology.

关 键 词： 反本质主义 维特根斯坦 充足理由律 宇宙学