Abstract

In order to show how Michel Serres’s work diverges from traditional (modernist) Western philosophy, this article explores a multitude of texts and contexts against which Serres might be better understood. Most starkly, Serres’s work diverges from the eighteenth and nineteenth century Germanic tradition of Bildung, meaning cultivation through introspection, apolitical thought and character building through education. Serres’s moves away from ego-centric thought (or self-cultivation) to eco-centric thought more akin to what Gregory Bateson (1972) called an ecology of mind. That is, Serres’s integrates—in a more ecological fashion—poetry, science, the arts, ecology and politics to raise philosophical questions. Further, this author suggests that Serres’s reference to the nineteenth century poem Pierrot Lunaire (put to music by Arnold Schoenberg (1912 Schoenberg, A. (1912). Pierrot Lunaire, Opus 21. [Google Scholar])) serves as a trope for Serres’s over-arching philosophy. Pierrot is an artist, a sage, an outlier, a Hermes-like figure who breaks with tradition. Arnold Schoenberg’s (1912) atonal performance piece (Pierrot Lunaire), spoken and sung, shattered the boundaries of classical music. Like Schoenberg’s work, Serres’s work, both in style and content, shatters the boundaries of traditional philosophy. Serres’s breaks open a new paradigm in philosophy.

摘要

为了展示米歇尔·塞雷斯的作品如何与传统（现代主义）西方哲学分道扬镳，本文探讨了可以更好地理解塞雷斯的大量文本和背景。最明显的是，Serres 的作品与 18 世纪和 19 世纪日耳曼的Bildung传统背道而驰，通过内省进行意义培养，通过教育进行非政治思想和品格建设。Serres 从以自我为中心的思想（或自我修养）转向以生态为中心的思想，这更类似于 Gregory Bateson (1972) 所说的心灵生态学。也就是说，塞雷斯以一种更生态的方式整合了诗歌、科学、艺术、生态和政治，以提出哲学问题。此外，作者认为 Serres 提到了 19 世纪的诗歌 Pierrot Lunaire（由 Arnold Schoenberg 配乐（1912 勋伯格，A.（1912 年）。Pierrot Lunaire，作品 21。 [Google Scholar] )) 作为 Serres 总体哲学的比喻。皮埃罗是一个艺术家，一个圣人，一个异类，一个像爱马仕一样打破传统的人物。阿诺德勋伯格 (Arnold Schoenberg) (1912) 的无调性表演作品 (Pierrot Lunaire) 的口语和演唱打破了古典音乐的界限。与勋伯格的作品一样，塞雷斯的作品无论是在风格上还是在内容上，都打破了传统哲学的界限。塞雷斯的突破开启了哲学的新范式。