主体的死亡与复活——福柯生存美学的审美主体及其当下启示

发布时间：2018-05-17 01:31

本文选题：福柯 + 生存美学　；参考：《扬州大学学报(人文社会科学版)》2009年05期

【摘要】：从现代性的主体到后现代性的主体,从审美主义的主体到消费社会的消费美学的主体,主体的命运俨然一曲死亡与复活的变奏曲。福柯反对现代性的主体概念,宣告了"主体之死",但他晚期的生存美学则关注人如何将自己构成为主体,借助审美的创造性、灵活性、叛逆性等特质寻求主体性的可能,丰富了主体性的内涵。因其针对现代性理性、知识、道德主体而倡导感性、身体等,福柯的审美主体常常被比附为消费社会中的欲望主体、身体主体。但是,消费社会中的主体失去了对消费权力系统的抵制而成为驯顺的消费符号,按照福柯的思想只能说是主体的再度死亡。主体的再度复活既是必需的也是必然的,福柯的审美主体不失为对主体的客体化命运实行疗救的一种参照。
[Abstract]:From the subject of modernity to the subject of post-modernity, from the subject of aestheticism to the subject of consumer aesthetics in consumer society, the subject's fate is like a variation of death and resurrection. Foucault opposed the concept of the subject of modernity and declared "the death of the subject". However, in his later life aesthetics, he focused on how to form himself as the subject, seeking the possibility of subjectivity with the help of aesthetic creativity, flexibility and rebelliousness. It enriches the connotation of subjectivity. Foucault's aesthetic subject is often compared to the desire subject and body subject in the consumer society because he advocates sensibility and body for modern reason, knowledge and moral subject. However, the subject in the consumer society lost the resistance to the system of consumption power and became a symbol of docility. According to Foucault's thought, it can only be said to be the death of the subject again. The resurrection of subject is both necessary and inevitable. Foucault's aesthetic subject is a reference to the subject's objectified fate.
【作者单位】：扬州大学文学院;
【基金】：国家社会科学基金项目(04CZW005)
【分类号】：B83-0

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