Habermas' Conception of the Bourgeois Public Sphere and Publicness in Musical Culture of the Viennese Enlightenment

哈伯馬斯「資產階級公共領域」觀念與維也納啟蒙音樂文化中的「公共性」

10.29737/SJFLL.201203.0001

陳人彥(Jen-Yen Chen)

哈伯馬斯 ； 公共 ； 資產階級 ； 貴族 ； 維也納 ； Habermas ； public ； bourgeois ； aristocracy ； Vienna

東吳外語學報

34期（2012 / 03 / 01）

1 - 42

英文

十八世紀下半葉，諸如維也納、巴黎和倫敦這些歐洲主要中心的音樂生活條件，由於作為音樂表演公共聽眾之新資產階級的興起，而經歷了根本性的轉變。本文探究的是音樂公共領域的興起，此項觀點來自哈伯馬斯《公共領域的結構轉型》（1962）一書之綜合理論構想中的「公共領域」主張。哈伯馬斯在他的論証中較常使用德、法、英等國來作為例子，大部分都避開了奧地利，而本文則將這種構想應用在奧地利（尤其首都維也納）這一複雜的案例之上。哈伯馬斯有關一群新知識階層自由地參與有文化修養之論戰的概念，為自主（liberty）和寬容（tolerance）這兩項啟蒙理念的理解提供了一個極具價值的模型。然而，此一模型並不完全符合十八世紀晚期維也納這個與啟蒙後期階段有高度關連的場所之一。維也納音樂生活與哈伯馬斯「公共」特性描述的關連和背離，都強調出為此音樂生活仔細定義「公共」以及相關主張－譬如「公共音樂會」－的需要。通過對表演實踐、聽眾和評論等面向的考量，本文所考察的是一種時常被當作十八世紀晚期新「公共性」例示之音樂文化的「公共」性格。尤其，教會和貴族強大影響的持續，以及一個發達人文傳統（如同存在北德地區的）的缺乏，都造成一種獨特奧地利啟蒙的出現－它以高於哈伯馬斯模型所暗示的張力與矛盾作為標誌。

During the second half of the 18(superscript th) century, conditions of musical life in major European centers underwent a fundamental transformation in which there arose new bourgeois, public audiences for performances of music. This paper explores the rise of the musical public from the perspective of the comprehensive theoretical formulation of the notion of public presented in Jürgen Habermas' Structural Transformation of the Public Sphere (1962). It applies this formulation to the complex case of Austria (and in particular to Vienna), a nation avoided by Habermas who preferred to use Germany, France, and England to illustrate his arguments. His conception of a new educated class engaging in literate debate offers a valuable model for understanding the Enlightenment ideals of liberty and tolerance. However, this model fits uncomfortably with late 18(superscript th) century Vienna, one of the locales most closely associated with the Enlightenment during its later phases. Both the correspondences with Habermas' characterization of public and the divergences from it underscore the need to formulate careful definitions of ”public” and of related notions such as ”public concert” with respect to musical life in Vienna. In particular, the continuing strong influence of the Church and the aristocracy and the absence of a developed humanistic tradition resulted in a peculiarly Austrian Enlightenment, one marked by greater ambivalence than is suggested by Habermas' model. Taking into account aspects of performance practice, audiences, and criticism, this paper investigates the ”public” character of a musical culture sometimes regarded as exemplifying the new publicness of the late 18(superscript th) century.

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