{"title":"论对爱的艺术的兴趣:理查德·舒斯特曼的《情色艺术》","authors":"Leonardo V. Distaso","doi":"10.22439/fs.vi31.6454","DOIUrl":null,"url":null,"abstract":"Here, finally, is a book that takes the path of Michel Foucault’s The History of Sexuality1 but goes beyond its limits. I refer to Richard Shusterman’s Ars Erotica.2 It took a little more than four decades, since the beginning of Foucault’s project of a genealogy of sexuality understood as an object of knowledge in relation to power, to develop a new, ambitious and complex project that does not limit itself to questioning Western thinking, and in particular that of the ancient Greek-Roman world. This book offers original reflections on the transcultural genealogies of the current globalized world; not from the usual economic and political perspective but rather from a novel philosophical point of view. In light of this, Shusterman’s Ars Erotica marks a movement of progress toward a new understanding of our globalized world: more precisely, a critical understanding, rooted in history but capable of offering a potential improvement of existing realties, rather than limiting itself to a mere confirmation of the status quo or to a sterile exercise of non-constructive critique. My contribution to this symposium on Ars Erotica will start from the author’s concluding hypothesis that, in a sense, also underlies the general thrust of his book: namely, the hypothesis according to which the traditional paradigm of modern aesthetics (starting from the eighteenth century) can and perhaps must be overcome by means of a return to the communion of eros and beauty that had characterized philosophical aesthetics over the span of time from Plato to the Renaissance. 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I refer to Richard Shusterman’s Ars Erotica.2 It took a little more than four decades, since the beginning of Foucault’s project of a genealogy of sexuality understood as an object of knowledge in relation to power, to develop a new, ambitious and complex project that does not limit itself to questioning Western thinking, and in particular that of the ancient Greek-Roman world. This book offers original reflections on the transcultural genealogies of the current globalized world; not from the usual economic and political perspective but rather from a novel philosophical point of view. In light of this, Shusterman’s Ars Erotica marks a movement of progress toward a new understanding of our globalized world: more precisely, a critical understanding, rooted in history but capable of offering a potential improvement of existing realties, rather than limiting itself to a mere confirmation of the status quo or to a sterile exercise of non-constructive critique. My contribution to this symposium on Ars Erotica will start from the author’s concluding hypothesis that, in a sense, also underlies the general thrust of his book: namely, the hypothesis according to which the traditional paradigm of modern aesthetics (starting from the eighteenth century) can and perhaps must be overcome by means of a return to the communion of eros and beauty that had characterized philosophical aesthetics over the span of time from Plato to the Renaissance. 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引用次数: 0
摘要
最后,这本书走了米歇尔·福柯(Michel Foucault)的《性史》(the History of sexuality)的道路,但超越了它的局限。我指的是理查德·舒斯特曼(Richard Shusterman)的《情色艺术》(Ars erotictic2)。2从福柯将性谱系理解为与权力相关的知识对象的计划开始,花了四十多年的时间,才发展出一个新的、雄心勃勃的、复杂的计划,它不局限于质疑西方思维,尤其是古希腊罗马世界的思维。这本书提供了对当前全球化世界的跨文化谱系的原始反思;不是从通常的经济和政治角度,而是从一种新颖的哲学角度。鉴于此,舒斯特曼的《色情艺术》标志着对我们全球化世界的新理解的进步:更准确地说,是一种批判性的理解,植根于历史,但能够提供对现有现实的潜在改进,而不是将自己局限于仅仅确认现状或进行无建设性批评的枯燥练习。我对这次关于情色艺术的研讨会的贡献将从作者的结论假设开始,从某种意义上说,这也奠定了他的书的总体主旨:即,根据这个假设,现代美学的传统范式(从18世纪开始)可以而且可能必须通过回归爱欲和美的共融来克服,这种共融是柏拉图到文艺复兴时期哲学美学的特征。这个观点是,只要厄洛斯“被定义为对美的渴望之爱,通过渴望亲密地了解并以某种方式与所渴望的美丽物体结合而表达出来”,并且“美被认为是
On the Interest in the Art of Loving: Richard Shusterman’s Ars Erotica
Here, finally, is a book that takes the path of Michel Foucault’s The History of Sexuality1 but goes beyond its limits. I refer to Richard Shusterman’s Ars Erotica.2 It took a little more than four decades, since the beginning of Foucault’s project of a genealogy of sexuality understood as an object of knowledge in relation to power, to develop a new, ambitious and complex project that does not limit itself to questioning Western thinking, and in particular that of the ancient Greek-Roman world. This book offers original reflections on the transcultural genealogies of the current globalized world; not from the usual economic and political perspective but rather from a novel philosophical point of view. In light of this, Shusterman’s Ars Erotica marks a movement of progress toward a new understanding of our globalized world: more precisely, a critical understanding, rooted in history but capable of offering a potential improvement of existing realties, rather than limiting itself to a mere confirmation of the status quo or to a sterile exercise of non-constructive critique. My contribution to this symposium on Ars Erotica will start from the author’s concluding hypothesis that, in a sense, also underlies the general thrust of his book: namely, the hypothesis according to which the traditional paradigm of modern aesthetics (starting from the eighteenth century) can and perhaps must be overcome by means of a return to the communion of eros and beauty that had characterized philosophical aesthetics over the span of time from Plato to the Renaissance. The idea is that as long as eros “was defined as the desiring love for beauty expressed by a longing to intimately know and somehow unite with the beautiful object desired,” and “beauty was conceived as