Common Wisdoms

When in <em>A Singular Modernity: Essay on the Ontology of the Present</em> (2002) Fredric Jameson says, “ [t]hus, Balzac was a writer of bestsellers and Hugo very much a popular poet: something that will no longer be possible for their followers” (158), I believe he means that there is a bunch of American, Joan-Baez-style bands, experimenting with folk tradition through the tunnels of droning guitar echoes and sticky, fuzzy drums conversing in a syncopated suspension. I also assume that he implies that within such cultural scenes there is room for the likes of Sonic Youth and the Stooges. When in <em>Phenomenology of Spirit </em>(1977) Hegel discusses laws and the moments of their being tested, he seems to be emphasizing an interregnum between the break through of knowledge into freedom and its getting in a positive relation with “substance or real spiritual being” (260). The climax of his meditation about the complex, interlaced multiangulation between and among consciousness, immediacy, substance, willing, knowing, individual, unreal commandment, knowledge, <em>ought to</em>, and formal universality seems to be the observation about these moments having been superseded. That one and a remark about the difference between self-consciousness and essence being perfectly transparent (261) might signal a similar philosophical marvel, as does the conclusion about acknowledging the absoluteness of the right (262). Between Hegel's ruminations and what Jameson would have prognosticated, a shift in cultural consciousness occurred. What used to be known as traditional cultural categories amalgamated into newly formed hybrids. Or, so common wisdom has it. The uncommon one says that humanity just united under the green, nihilo-cannibalist, flag. Or, so discourse of deception has it.

当弗雷德里克·杰姆逊在《单一现代性：论当下的存在论》（*A Singular Modernity: Essay on the Ontology of the Present*，2002）中提出："巴尔扎克曾是畅销书作家，雨果则堪称大众诗人——这一点对于他们的后继者而言已不再可能"（第158页）时，笔者认为，他所指的是彼时涌现的一批以琼·贝兹（Joan Baez）风格为代表的美国乐队，他们借由持续低音吉他的回声与黏腻模糊的鼓点所构建的切分延音式对话语境，探索民谣传统的新边界。笔者同时推测，杰姆逊亦暗示，在这类文化场景中，为音速青年（Sonic Youth）与史托格斯乐队（The Stooges）这类先锋音乐人留出了生长空间。当黑格尔在《精神现象学》（*Phenomenology of Spirit*，1977）中探讨法则及其检验环节时，他似乎着重阐释了知识跃迁至自由，与"实体或现实的精神性存在"（第260页）建立肯定性关系之间的过渡阶段。他对于意识、直接性、实体、意志、认知、个体、虚幻诫命、知识、"应然"与形式普遍性之间复杂交织的多重关联的沉思，其高潮似乎在于对这些环节已被扬弃的论断。这一论断，以及关于自我意识与本质之间实现完全透明性的论述（第261页），或许与他关于承认权利绝对性的结论（第262页）一样，都彰显了类似的哲学洞见。在黑格尔的沉思与杰姆逊所预言的文化转向之间，文化意识发生了嬗变。曾被视作传统的文化范畴逐渐融合为全新的杂糅形态——这是主流学界的共识。而持异见者则认为，人类不过是在虚无食人主义的绿色旗帜下达成了统一——这正是伪饰话语的论调。