摘要
《艺术作品的本源》一文在海德格尔思想研究中占据着非常重要的位置。通过对该文进行深入分析,可以从四个方面发掘海德格尔的理论破绽或其困窘之处。但是,在具体的行文中,海德格尔又总是试图突破这些局限,这就带来了其理论表达的晦涩性和不确定性,使该文的理论探索带有明显的过渡性特质。因此,我们不能把该篇论文认作关于艺术讨论的一种“定论”,更不能当作一种美学讨论的“真理”。它更是一种关于“艺术之谜”的挣扎着的理论努力。同时,对于他的理论与中国传统美学的关系,也不能简单比附。
The article The Origin of the Work of Art occupies a very important position in Heidegger's intellectual research.Through the in-depth analysis of this paper,Heidegger's theoretical flaws or embarrassments can be discovered from four aspects.However,in the specific text,Heidegger always tries to break through these limitations,which brings obscurity and uncertainty to his theoretical expression,making the theoretical exploration of the paper have obvious transitional characteristics.Therefore,we cannot regard this paper as a conclusion on artistic discussion,let alone as a truth in an aesthetic discussion.It is more of a struggling theoretical effort about the mystery of art.At the same time,the relationship between his theories and traditional Chinese aesthetics cannot be simply compared.
作者
田义勇
Tian Yiyong(College of Humanities,Hangzhou City College)
出处
《美学与艺术评论》
2023年第1期123-136,263,共15页
Journal of Aesthetics and Art Review
