伽达默尔论艺术作品的存在与诠释学的真理

伽达默尔拒绝从审美体验开始他的艺术诠释学考察,而把焦点方放在艺术作品的存在方式上,以此他希望恢复艺术经验的真理要求。在他看来,艺术作品像游戏一样,以实际发生在那里的方式存在;在作品中真理作为无蔽而发生并敞开存在的意义。此外,艺术游戏的重复发生形成可重复的结构,它对参与者发挥着主宰作用;在另一方面,可重复的结构只存在于具体发生之中,它把其中新的因素融会进自身之中,从而得到充实;这种充实是通过理解的有限视域的融合而实现的,因而结构是可变的,并且并不趋向最终目的。这种既敞开又充实的真理在艺术作品中的发生有赖于摹仿。在这一背景下,文章集中讨论伽达默尔的摹仿概念。文章指出,伽达默尔强调摹仿不是盲目的复制,而是借再现来实现的创造活动,它把关于现实的本真理解呈现在那里。这正是诠释学真理的发生,借此过去和未来得到中介。作者着重阐明伽达默尔的如下意图,即突显摹仿抵制抽象的力量——摹仿通过创制新的存在而使先前的东西来到自己被呈现的存在,并借此被提升到自身更丰富更真实的存在,而如此被创造的存在整体拒绝任何方法论的简化和区分。

Gadamer＇s hermeneutics of art takes as its starting point the being of the work rather than the easthetic Erlebniss, and aims at restoring the truth claim of the artistic experience. According to Gadamer, a work of art happens there as an event of truth which opens up new horizons of understanding; The artistic experience is both active and passive （pathos）. This is akin to Heidegger＇s conception of truth as aletheia. However, in Gadamer, the happening of truth in the work of art does not bring forth anything completely alien ; it creats in order to expand. In this sense, the truth of Being grows like the Hegelian Geist, except that in the former case the growth is caused by the weaving together of the finite events of understanding, while in the latter, the reflections of self - consciousness. A work of art is like a play in that, though playful, as it happens and repeats itself, it makes the participants experience something serious. This allows Gadamer to see artistic activities as repetitive participations in its repeatable structure （Gebilde）. This repeatable structure owes its autonomy to the new world formed by the play, and yet, it is not fixed. Due to its dependence on the happening, the structure can change over the open -ended process. The hermeneutic truth accordingly means both opening up and growth. Gadamer argues that it is through mimesis that this hermeneutic truth takes effect in the work of art. Against this background, the author attemps to bring to the fore the often ignored aspect of Gadamer＇s thought, that is, his treatment of mimesis. The author emphasizes Gadamer＇s insight that mimesis is no blind copying, but the artistic imitation which creats by re- presenting the reality. In other words, it places there what is understood of the reality as true. This could be considered as the happening of truth of Being in its mediating between the past and the fu- ture. The power of mimesis is manifested in the fact that, by making something new, it allows the original to come to its represented being, and thus to get raised to its more fullfilled ideality. Furthermore, mimesis creats an unique mode of being which resists methodological reductions.