CAJ | 학술논문

学术界素来习惯于在海德格尔的思想框架中理解京都学派哲学家九鬼周造在其《‘いき’之构造》中所表达的美学观点,而这种解读传统本身则或许是得缘于九鬼本人曾在德国求教于海氏这一偶然性事实。但这种理解方案或许对两人之间的一些实质性思想差异估计不足。相比较而言,在维特根斯坦的思想框架中重构九鬼的＂いき＂论,则是一个很具诱惑力的新选项。两者之间的平行关系在于：第一,九鬼的＂いき＂论植根于江户町人文化的真实语言实践,就像维氏的语言游戏论植根于俗常百姓的真实语言实践一样——因此,研究者便可以通过对于江户时期町人文化现象的人类学研究和语言学研究来为＂いき＂论祛魅。譬如,对于＂いき＂这个假名单词的用法考察,就可以为我们清晰地展现出该词所蕴含的意义关联网络。第二,维氏＂遵从规则论＂对于规则自身权威的强调,也可以在九鬼＂いき＂论所牵涉到的异性关系中找到类似的表达。＂いき＂的三个具体环节——＂媚态＂、＂意气地＂和＂谛观＂——就清楚地表达出了与之相关的三条规范性规则：作为正题的＂饱含风情地屈从于游戏伙伴＂、作为反题的＂在游戏伙伴面前对于自身尊严的彰显＂,以及作为合题的＂对于游戏过程自身的云淡风轻式的忘却＂。第三,和维特根斯坦对于＂样本＂在语言游戏中所扮演的角色相呼应,九鬼也在讨论＂いき的外延性表现＂时提供了关于＂いき文化＂的丰富样本。由此,对于颜色样本的语法空间的维特根斯坦式讨论,便可以依据这一思路成为某种哲学参照系,以便利于九鬼的读者重新理解其对于富有＂いき＂特征的色彩所作的美学分析,以及其勾勒的＂审美价值六面体＂所具有的某种跨文化的先验意义。总之,素来被视为欧陆哲学外围的日本京都学派哲学,一旦被重置入当下作为西方哲学之主流的分析哲学的框架中予以重新解读,就很可能会被激发出一些崭新的意义面相,以利于深化东、西方之间的哲学对话。學術界素來習慣于在海德格爾的思想框架中理解京都學派哲學傢九鬼週造在其《‘いき’之構造》中所錶達的美學觀點,而這種解讀傳統本身則或許是得緣于九鬼本人曾在德國求教于海氏這一偶然性事實。但這種理解方案或許對兩人之間的一些實質性思想差異估計不足。相比較而言,在維特根斯坦的思想框架中重構九鬼的＂いき＂論,則是一箇很具誘惑力的新選項。兩者之間的平行關繫在于：第一,九鬼的＂いき＂論植根于江戶町人文化的真實語言實踐,就像維氏的語言遊戲論植根于俗常百姓的真實語言實踐一樣——因此,研究者便可以通過對于江戶時期町人文化現象的人類學研究和語言學研究來為＂いき＂論祛魅。譬如,對于＂いき＂這箇假名單詞的用法攷察,就可以為我們清晰地展現齣該詞所蘊含的意義關聯網絡。第二,維氏＂遵從規則論＂對于規則自身權威的彊調,也可以在九鬼＂いき＂論所牽涉到的異性關繫中找到類似的錶達。＂いき＂的三箇具體環節——＂媚態＂、＂意氣地＂和＂諦觀＂——就清楚地錶達齣瞭與之相關的三條規範性規則：作為正題的＂飽含風情地屈從于遊戲夥伴＂、作為反題的＂在遊戲夥伴麵前對于自身尊嚴的彰顯＂,以及作為閤題的＂對于遊戲過程自身的雲淡風輕式的忘卻＂。第三,和維特根斯坦對于＂樣本＂在語言遊戲中所扮縯的角色相呼應,九鬼也在討論＂いき的外延性錶現＂時提供瞭關于＂いき文化＂的豐富樣本。由此,對于顏色樣本的語法空間的維特根斯坦式討論,便可以依據這一思路成為某種哲學參照繫,以便利于九鬼的讀者重新理解其對于富有＂いき＂特徵的色綵所作的美學分析,以及其勾勒的＂審美價值六麵體＂所具有的某種跨文化的先驗意義。總之,素來被視為歐陸哲學外圍的日本京都學派哲學,一旦被重置入噹下作為西方哲學之主流的分析哲學的框架中予以重新解讀,就很可能會被激髮齣一些嶄新的意義麵相,以利于深化東、西方之間的哲學對話。
학술계소래습관우재해덕격이적사상광가중리해경도학파철학가구귀주조재기《‘いき’지구조》중소표체적미학관점,이저충해독전통본신칙혹허시득연우구귀본인증재덕국구교우해씨저일우연성사실。단저충리해방안혹허대량인지간적일사실질성사상차이고계불족。상비교이언,재유특근사탄적사상광가중중구구귀적＂いき＂론,칙시일개흔구유혹력적신선항。량자지간적평행관계재우：제일,구귀적＂いき＂론식근우강호정인문화적진실어언실천,취상유씨적어언유희론식근우속상백성적진실어언실천일양——인차,연구자편가이통과대우강호시기정인문화현상적인류학연구화어언학연구래위＂いき＂론거매。비여,대우＂いき＂저개가명단사적용법고찰,취가이위아문청석지전현출해사소온함적의의관련망락。제이,유씨＂준종규칙론＂대우규칙자신권위적강조,야가이재구귀＂いき＂론소견섭도적이성관계중조도유사적표체。＂いき＂적삼개구체배절——＂미태＂、＂의기지＂화＂체관＂——취청초지표체출료여지상관적삼조규범성규칙：작위정제적＂포함풍정지굴종우유희화반＂、작위반제적＂재유희화반면전대우자신존엄적창현＂,이급작위합제적＂대우유희과정자신적운담풍경식적망각＂。제삼,화유특근사탄대우＂양본＂재어언유희중소분연적각색상호응,구귀야재토론＂いき적외연성표현＂시제공료관우＂いき문화＂적봉부양본。유차,대우안색양본적어법공간적유특근사탄식토론,편가이의거저일사로성위모충철학삼조계,이편리우구귀적독자중신리해기대우부유＂いき＂특정적색채소작적미학분석,이급기구륵적＂심미개치륙면체＂소구유적모충과문화적선험의의。총지,소래피시위구륙철학외위적일본경도학파철학,일단피중치입당하작위서방철학지주류적분석철학적광가중여이중신해독,취흔가능회피격발출일사참신적의의면상,이리우심화동、서방지간적철학대화。
Although to interpret Kuki Shūzō＇s The Structure of Iki in the light of Heidgger＇s phenomenology,which was exactly what Kuki learned when he was in Germany,looks like a quite natural interpreting strategy,the author of this article still wants to argue that Wittgenstein can offer a better interpreting framework for Kuki＇s aesthetics. The parallelisms between the two philosophers can be unpacked as below： Firstly,both philosophers focus on the linguistic activities of ordinary people—more specifically,in Kuki＇s case,his focus is on how language-games on ＂iki ＂ is actually played in the so-called ＂Edo Culture＂,the linguistic and anthropological inquiries into which would greatly facilitate the ＂disenchantment ＂ of ＂iki ＂ itself; Secondly,both philosophers indentify the implicitly functioning mechanism of authority either in language-games in a general sense or in those related to ＂iki ＂ alone—more specifically,in Kuki＇s case,the specific language-games on ＂iki ＂can be unpacked as three elements –＂bitai ＂,＂ikiji＂and ＂akirame＂—each corresponding to three sub-rules concerning ＂iki＂respectively,namely,＂to subject oneself to another language-game player in a parody of coquetry ＂as a thesis,＂to show one＇s own pride and honor before other language-game players＂as an anti-thesis,as well as ＂to tolerate sufferings by showing indifference to them＂as a synthesis. Thirdly,both philosophers have a deep understanding of what significant role that ＂samples＂do play in relevant games. More specifically,Wittgenstein＇s discussion of the ＂grammar of colors＂or samples of colors can be used as a perfect framework in which Kuki＇s aesthetical assessment of typical colors favored by the criteria of＂iki＂,as well as his elaboration of the so-called ＂hexahedral of aesthetical values＂,could be reconstructed in a manner by which its transcendental（ and hencecross-cultural） dimension is revealed. In short,once historically continental-philosophy-related Kyoto School philosophy,of which Kuki＇s theory of ＂iki＂is an excellent representative,is reconstructed in the spirit of the Anglo-phone analytical philosophy, new aspects of contemporary Japanese philosophy would emerge as new inspirations for deepening the philosophical dialogue between the East and the West.