同源、相似与差异：审美与德性的关系辨析

纵观西方美学史,不难发现这样一条“德性美学”的理路,即将美学与伦理学看成是“同一性”的关系——柏拉图认为美植根于善的生活,由最高的理念统摄;阿奎那则阐明美与善在形式上是一样的;康德提倡美是道德的象征;而早期维特根斯坦则激进地表明美学和伦理学是一回事。通过对这一理路的梳理,发现这种“同一论”意蕴丰富,并非形式或逻辑上的同一关系,而实是同源与相似性的关系。笔者进一步从意义论的视域论证二者的同源与相似性,并承认其差异性,以便为非道德的艺术与不道德的艺术留出地盘。

Homology, similarity and difference: the relationship between aesthetics and morality

Throughout the history of Western aesthetics, it is not difficult for us to find an aesthetics of virtue, which regards aesthetics and ethics as the same; Plato holds that beauty is rooted in the good life and dominated by a supreme concept; Aquinas regards beauty and good as the same in form; Kant advocates that beauty is the symbol of morality, while in his early years Wittgenstein has a radical view regarding aesthetics and ethics as one thing. This historical analysis reveals that the theory of homology is not related to an identical relation in form or logic but one between homology and similarity. The paper finally proves their homology and similarity in the perspective of the theory of meaning as well as their differences, which gives much room for the study of non-moral art and immoral art.