《Aisthesis》一書研究：論洪席耶的（美）感受觀點

Abstract

本研究旨在闡明洪席耶如何重塑一種藝術認識論。更為重要地，現當代所討論藝術與美學概念的反倒成為哲學家試圖抹去的對象，「概念」因而成為存而不論的關鍵，這種去中心的包裹論述如何可能遂也成為本研究另外一個重點，就此指出一種丟去概念框架的藝術論述。在第一、二章，本文試著討論洪席耶的方法論與其理由；透過回溯法國六八思潮，理解洪席耶刻意為之的關鍵字：考古、場景與介入。另一方面，這一種論述思考的實踐如何反應於美學論述與藝術概念之間，則成為理解Aisthesis的關鍵，這一部份的分析將集中於本論文第三、四章。最終，第五章並且將以細部分析《Aisthesis》第二章為例。以上述幾個軸線，本文試著理解洪席耶美學裡特殊的思考模態，存而不論的概念論述究竟又該如何可能。This research attempts to elaborate how Rancière could ever be possible to reshape an epistemology of art, in where, the more important of all, the concept of art and of aesthetics has become the target itself that the philosopher tried to erase. “Concept”, thus, became a crucial key point to discuss an existence even without the realization of its existing. And, howcould this kind of de-central narration be possible should also be another emphasis that the research relied on. Upon which, an artistic critics, de-centration and de-concepts, could be referred.

In the chapter one and two, the research tried to discuss this specific kind of methodology of Rancière and its originality. Tracing back to the scene of 68 Movement in France, this study tried to comprehend some intended keywords – archaeology, scene and intervention that Rancière extracts from his era. On the other sides, how could this thought upon narration be practically executed in the reflection of a relationship between aesthetic narration and artistic concept? It should be also a crucial point to comprehend the term, Aisthesis. And, this deduction will be collected in the chapter three and four. Finally, the chapter five is going to analysis the dialect of “The Little Beggar on the Street” as an example. Through which, the research intended to reconstruct a specific thinking mode of Rancière, a thread to think without artistic and aesthetic concepts.