發(fā)布時(shí)間：2018-04-03 10:04

  本文選題：海德格爾　切入點(diǎn)：藝術(shù)　出處：《湖南師范大學(xué)》2009年碩士論文

【摘要】： 藝術(shù)的本源問題是美學(xué)中的基本問題,歷代哲學(xué)家美學(xué)家對(duì)此有著各種不同的理解和闡釋。海德格爾摒棄了傳統(tǒng)的,從對(duì)現(xiàn)象和邏各斯的界定開始構(gòu)建他的存在論哲學(xué),并在此基礎(chǔ)上針對(duì)當(dāng)時(shí)美學(xué)的無根性重新解釋了這個(gè)問題,具有開創(chuàng)性的意義。本文的思路在于理清海德格爾的藝術(shù)本源論產(chǎn)生的背景、內(nèi)容、意義及其局限性,分為三個(gè)部分: 第一部分:從“本源”的概念出發(fā)理清海氏本源論與傳統(tǒng)本源論的區(qū)別所在,重點(diǎn)論述傳統(tǒng)藝術(shù)本源論。海德格爾的“本源”問題對(duì)應(yīng)著傳統(tǒng)的藝術(shù)起源和本質(zhì)的問題,籠統(tǒng)地說也就是“藝術(shù)之謎”。因?yàn)楹５赂駹栐谶@個(gè)問題上的獨(dú)特性很強(qiáng),譯者沒有辦法直接將海德格爾的藝術(shù)本源論譯作“起源論”或“本質(zhì)論”,這才出現(xiàn)了“本源”一詞。傳統(tǒng)的關(guān)于藝術(shù)之謎的論述是海德格爾研究的起點(diǎn),也是其批判的對(duì)象。 第二部分:論述海德格爾的藝術(shù)作品本源論的主體部分。海德格爾研究藝術(shù)本源論的最重要作品為《藝術(shù)作品的本源》,從這篇文章我們可以找到海氏藝術(shù)本源論的主體部分:物、器具、作品;藝術(shù)與真理;藝術(shù)與語言;藝術(shù)與歷史等;在完成對(duì)藝術(shù)本源論主體部分的建構(gòu)之后總結(jié)一下海氏藝術(shù)本源論的地位,由于海德格爾藝術(shù)本源論注重在對(duì)傳統(tǒng)本源論的批判之上得出結(jié)論,所以具有鮮明的獨(dú)創(chuàng)性和革命性:在藝術(shù)的起源與消亡、藝術(shù)創(chuàng)作者與接受者的地位、藝術(shù)與美和真的關(guān)系等問題上提出了新的見解;而這些見解與時(shí)代潮流是密不可分的。 第三部分,總結(jié)藝術(shù)本源論的現(xiàn)實(shí)意義與疏漏之處。其現(xiàn)實(shí)意義在于將人從無根狀態(tài)喚醒,指引人們尋回家園;疏漏之處在于,海德格爾想要補(bǔ)救以往藝術(shù)本源論的片面之處的出發(fā)點(diǎn)是不錯(cuò)的,但正如他所言,致力于建立一種從本身的角度來看都具有可批判性的理論是艱難的,但這正是他努力的方向。本文對(duì)其進(jìn)行批判雖然笨拙,也不失順其本意。
[Abstract]:The origin of art is a basic problem in aesthetics, which has been interpreted and interpreted by philosophers and estheticians of all ages.Heidegger abandoned the tradition and constructed his existential philosophy from the definition of phenomena and logos. On this basis, Heidegger reexplained the problem in the light of the rootlessness of aesthetics at that time, which was of pioneering significance.The idea of this paper is to clarify the background, content, significance and limitations of Heidegger's theory of artistic origin, which is divided into three parts:The first part: from the concept of "origin" to clarify the difference between Hay's theory of origin and traditional theory of origin, focusing on the origin of traditional art theory.Heidegger's original problem corresponds to the origin and essence of traditional art.Because Heidegger is very unique on this issue, the translator can not directly translate Heidegger's theory of artistic origin into "Origin Theory" or "essence Theory".The traditional exposition of art riddles is the starting point of Heidegger's research and the object of his criticism.The second part: discusses Heidegger's works of art origin of the main part of the theory.The most important work of Heidegger's study of the origin of art is "the Origin of Art works". From this article, we can find the main parts of Heidegger's theory of the origin of art: objects, utensils, works, art and truth, art and language, art and language, art and truth, art and language, art and language, art and truth, art and language.Art and history; after completing the construction of the main body of the theory of the origin of art, this paper sums up the position of Heidegger's theory of the origin of art, because Heidegger's theory of the origin of art focuses on the criticism of the traditional theory of origin.Therefore, it has distinct originality and revolution: it puts forward new views on the origin and extinction of art, the position of art creators and recipients, the relationship between art and beauty and truth, and these views are inseparable from the trend of the times.The third part summarizes the practical significance and omissions of the theory of the origin of art.Its practical significance is to awaken people from the rootless state and guide people to find their homes. The omission lies in the fact that Heidegger's intention to remedy the one-sided nature of the previous artistic origin is good, but as he said,It is difficult to work on a theory that is critical from its own point of view, but that is where he works.This article criticizes it, though clumsy, does not lose its original intention.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J01

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 李俊;反本質(zhì)主義與藝術(shù)本質(zhì)問題[J];貴州師范大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2002年01期

2 張玉能;西方美學(xué)關(guān)于藝術(shù)本質(zhì)的三部曲(上)——藝術(shù)本質(zhì)論:從自然本體論美學(xué)到認(rèn)識(shí)論美學(xué)[J];吉首大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2003年02期

3 張玉能;西方美學(xué)關(guān)于藝術(shù)本質(zhì)的三部曲(下)——人類本體論美學(xué)藝術(shù)本質(zhì)論[J];吉首大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2003年03期

4 史可揚(yáng);美學(xué)的轉(zhuǎn)向──海德格爾哲學(xué)美學(xué)的當(dāng)代意義[J];內(nèi)蒙古社會(huì)科學(xué);1998年02期

5 胡自信;海德格爾論真與美[J];山東師大學(xué)報(bào)(社會(huì)科學(xué)版);1998年02期

6 張賢根;海德格爾美學(xué)思想論綱[J];武漢大學(xué)學(xué)報(bào)(人文科學(xué)版);2001年04期

7 李雪濤;;兩顆偉大心靈的相互碰撞——納粹專制前雅斯貝爾斯與海德格爾之間的交往[J];現(xiàn)代哲學(xué);2007年02期

8 彭富春;現(xiàn)代與后現(xiàn)代思想——評(píng)從19世紀(jì)下葉到20世紀(jì)末期西方美學(xué)的兩重邊界[J];西南民族學(xué)院學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2000年03期

9 彭富春;現(xiàn)代性的意義[J];學(xué)術(shù)月刊;2001年01期

10 李醒塵;海德格爾美學(xué)思想論[J];錦州師范學(xué)院學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2000年04期

，

本文編號(hào)：1704720