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

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。

The Death and Rebirth of Subject-Aesthetic Subject in Foucault's Aesthetics of Existence and Its Revelation

From modernity to post-modernity, from Aestheticism to consumer aesthetics, the fate of subject is just like a partita of death and rebirth. On one hand, Foucault, rejecting the conception of subject of modernity, announces “the death of Subject”; on another hand, the aesthetics of existence out of his later thinking explores the possibility of subjectivity and concerns the making of the self into a subject by drawing the creativity, flexibility and rebelliousness from aesthetic. Due to his emphasis on sensibility and physical body rather than rationality, knowledge and ethics in modernity, Foucault＇s aesthetic subject is often compared, in a farfetched way, to that of desire and body in consumer society, which, in Foucault＇s mind, is merely a consumption symbol instead of a subject. The rebirth of subject is not only necessary but also inevitable and Foucault＇s aesthetic subject may after all be considered as a remedy for subject being objectified.