{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"dfe67541-4039-4f88-87ce-dbbadb056cb2","title":"什么是批判","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787303287741","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"dfe67541-4039-4f88-87ce-dbbadb056cb2","id":"dfe67541-4039-4f88-87ce-dbbadb056cb2","uuid":"dfe67541-4039-4f88-87ce-dbbadb056cb2","title":"什么是批判","normalized_title":"什么是批判","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787303287741","isbns":["9787303287741","0120214113"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":490,"navigation_url":"https://workshop.closeclaw.top/ai/book/dfe67541-4039-4f88-87ce-dbbadb056cb2","title_url":"https://workshop.closeclaw.top/ai/title/%E4%BB%80%E4%B9%88%E6%98%AF%E6%89%B9%E5%88%A4","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/dfe67541-4039-4f88-87ce-dbbadb056cb2/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/dfe67541-4039-4f88-87ce-dbbadb056cb2/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/dfe67541-4039-4f88-87ce-dbbadb056cb2","page_url":"https://workshop.closeclaw.top/api/ai/books/dfe67541-4039-4f88-87ce-dbbadb056cb2/page","search_url":"https://workshop.closeclaw.top/api/ai/books/dfe67541-4039-4f88-87ce-dbbadb056cb2/search"},"page":{"printed_page":270,"pdf_page":290,"physical_index":290,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"d60e23fc258dd360400843de8c59c949d3b803662bfaccb80ed09489006948a7"},"chapter":"什么是批判","content":"现在我们能更清楚地看到，在何种特定的意义上，批判和哲学是一致的。形而上学和先验哲学的设想，即认识兴趣是从本性(Natur)得出的，或者作为自发性(Spontaneität)从自身发端，和我们对于简单化的观察并不相容—人们在简单化的过程中放弃了避免假象的兴趣。从对简单化的诊断出发，人们更需要一种关于理性起源的理论，它解释了在何种范围内理性的真理导向能够出现和首次发端。此外，这种解释也赢得了对批判的重建，它能够消灭简单化。从简单化到朝向批判开放的过渡作为一种理性—真理导向、真实理由优先于虚假理由的建立得到实行。这样一种理性的源泉是展示性的批判，它一并产生了通达理性的可能性。理性在此和展示性批判合而为一，通过它，简单化就被扬弃掉了。在这种特殊的视角下，用阿多诺的话来说，“把理性的现代概念和批判相提并论的人”①并没有夸大其词。\n\n展示性批判在哲学中以各种方式被应用。当代批判(Gegenwartskritik)通过哲学展示的手段来实现，如克尔凯郭尔的间接交流、尼采的格言体展示形式，以及阿多诺的《美学理论》计划，它与其说是关于艺术作品的理论，毋宁说是一种将艺术作品的自主性与理论的自身目的相结合的尝试。对于伟大史诗的哲学解释也同样属于这一行列，如霍克海默和阿多诺在《启蒙辩证法》中出于风格意识(stilbewusst)为其喝彩。①文本解释，特别是当其涉及荷马史诗——如在《启蒙辩证法》中一样——或者古希腊早期②歌词的内容时，确实是一种理论自足性的极端体现，它为时代诊断和当代批判加上了密码。对早期现代西班牙骑士小说的解释似乎也是如此。对堂吉诃德所展现的假象的现象分析和概念分析展示出。在多大程度上他关于正义战争的讨论是一种简单化的表达。在这方面，批判和理论的关系并不是一个仅仅在此终结的，而是到达了开端的论题。\n\n① Theodor W. Adorno, »Kritik«, «, in: ders. , Gesammelte Schriften, Band 10.2, Frankfurt/M.1977, S.785-793, hier: S.785 f.\n\n270\n\n什么是批判","previous_page":269,"next_page":271}