李克爾美學之研究

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Title:	李克爾美學之研究
Other Titles:	A Study on the Aesthetics of Paul Ricoeur
Authors:	張展源 Chang, Chan-Yuan
Contributors:	譚家哲;廖炳惠 Tam Ka-Git;Liao, Ping-hui 東海大學哲學系
Keywords:	敘事文;隱喻;解釋學;當代藝術;模仿;表象;伽達瑪;歌劇 narrative;metaphor;hermeneutics;modern art;mimesis;representation;Gadamer;H. -G.;opera
Date:	1999
Issue Date:	2011-05-25T09:43:10Z (UTC)
Abstract:	論文摘要本論文以李克爾的美學為研究之對象，以他的敘事文理論為主軸，也觸及了他的隱喻理論和一般藝術的美學觀點。在敘事文方面，李克爾提出了「三重模仿論」來涵蓋作者與讀者對行動世界意義之理解，作者的模仿創作過程，和讀者閱讀作品並對其世界觀與行動有所重塑的諸面相。他主張這個模仿論是同樣適用於對歷史以及虛構的敘事文之分析。因為二者均有行動之模仿、均有情前之安排，意即將異質之插曲、事物綜合為了被理解的一個整體。不過李克爾並不因此主張歷史與小說是同質的。他認為前者並非如虛構作品一般是任意的，而是要參照遺跡和證據。本論文也對他與不同的史學及小說理論對話的情形做了一些分析。本論文論證：李克爾對敘事文(尤其虛構性敘事文）的分析確實很能讓我們體會並掌握到文本中的世界與我們的生活世界之間的交會互動，及對我們的行動與世界觀之重塑功能。不過，本文也從歌劇的藝術類型批評了李克爾的理論不能說明全部的文學經驗。當我們接觸到用一故事的不同版本時，三重模仿論並不適用。而且，它對精神分析為主的敘事文也不適用。在隱喻方面，李克爾的解釋學角度確實有別於英美分析隱喻的傳統，也有別於流行的結構主義的分析，而呈現出豐富的「指涉」向度的深度分析，也讓我們看到了語言在隱喻中所呈現出的無窮的創造性。但是本文從維棖斯坦的語言哲學的觀點指出李克爾隱喻理論可能忽略的地方。「家族相似性」的觀念提醒我們單一的隱喻理論不足說明全部種類的隱喻；再者「意義即其使用」的觀念也讓我們質疑隱喻之「指涉」的確定性。在一般藝術的美學理論方面，李克爾呈現出很「前衛」的思想。他對「與表象決裂」之抽象繪畫表達出喜好、對維也納學派無調性音樂也甚為偏好，並提出美學理論加以肯定及辯護。不過，本文卻指出：他的前後期的美學觀點有很大的差異，表現出極大的不穩定與不一致性，不如伽達瑪所展現出的穩定、系統與連貫。本文也用維根斯坦「聽成為」的論述和嵇康的「聲無哀樂論」對照質疑了李克爾的音樂觀點，指出他的音樂觀有過度將音樂之情感或意義固定化或客觀化的傾向。在與伽達瑪的對照比較方面，本文也指出了二人對美學方面的相似與差異，而這也同時彰顯出二人在解釋學上的差異。本論文最後也對李克爾美學的影響、批評與涵義做了一些梳理澄清的工作，這表示他的美學有其可以被重視的地方，值得有興趣的學者進一步予以研究與闡釋。總體來說，本論文從美學的角度呈現出一位當代學術巨人的一個思想側面，希望能對李克爾美學以及他的整體哲學的瞭解有所幫助。 ABSTRACTThis thesis surveys and criticizes the aesthetic dimension of Paul Ricoeur''s philosophy. It covers Ricoeur''s theories of metaphor, narrative, and art. H. -G. Gadamer''s aesthetics is included to provide a contrast with Ricoeur''s. It is expected that this contrast may serve to expose more difference between the hermeneutics of Gadamer and Ricoeur.Concerning the theory of metaphor, Wittgenstein''s later philosophy of language is cited to put some doubt upon Ricoeur''s metaphoric hermeneutics, which emphasizes the reference, not form and sense, of metaphor. Yet, according to Wittgenstein''s theory of "as use,"it is argued that the sense and the reference of a metaphor are not determinate, depending on the context of saying that metaphor. For example, "is a rose."could be taken to mean that "is impermanent or transient."(since the duration of a blooming rose is comparatively shorter than that of many flowers, say, a orchid.), especially when this metaphor is used to console a person who suffers from the loss of a lover. Therefore, it is argued that Ricoeur''s theory of metaphor negelects this aspect of the metaphoric language, though it does shed light upon the referential dimension of metaphor.Regarding narrative theory, it is argued that Ricoeur''s theory of three-fold mimesis (his theory of the intersection of the world of the text and the world of reader in reading) is a good model for art interpretation in general. In this model, all types of art which has the narrative form can be well interpreted concerning the capacity of the artwork to refigure the worldview and action of its reader or receiver. However, it is argued that Ricoeur''s narrative theory cannot explain all of our literary experiences, especially those of encountering different versions of a story (here we have "conflict of the worlds of the text" and of reading or seeing a psychoanalysis-based narrative (here the concept of the world of the text is put into doubt).As for the art theory, it is argued that Ricoeur seems to have "#34 the narrative model because he advocates the idea of "with representation"and the abolishing of the external designation of artwork. This is obviously contradicting to his earlier (Aristotelian) conception of the narrative or artwork in general, that is, the emphasis of plot and thought, as is expressed in his Time and Narrative. It is therefore argued that there is some discrepancy or even inconsistency between Ricoeur''s ealier and later aesthetic theories.
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