摘要
海德格尔在以"艺术"为起点辗转行至"真理"的路途中实际上勾划出三条不同的美学道路。第一条:存在→存在者→艺术作品→真理→艺术;第二条:人(艺术家)→艺术作品→作品的作品存在→真理→美;第三条:诗人→诗→语言→真理。这三条道路在总体上呈现出一种相互纠缠和非线性逻辑的美学特征。这种美学特征既昭示着海德格尔由"艺术"行进至"真理"所使用的技术策略,也表征了他为身处于技术时代"无思"的我们所开的美学药方。
Heidegger had drawn the outline of three different aesthetic paths when he took "art" as the beginning to approach twistingly to the "truth". The first path: Being→Beings→Art work→Truth→Art; the second path: Human (artist) →Artistic work→Work existence→Truth→Aesthetics; the third path: Poet→Poem→Language→Truth. These three paths are presenting an entangleable and nonlinear logical aesthetic character as a whole. Therefore, Heidegger's aesthetic thinking is both his technical tactic from "art" to "truth", and his aesthetic prescription for us who plunged into the technical times of "non-thinking".
出处
《河北大学学报(哲学社会科学版)》
CSSCI
北大核心
2010年第6期92-97,共6页
Journal of Hebei University(Philosophy and Social Science)
基金
陕西省社科基金项目<陕西文学作品形象与陕西都市文化形象的悖谬性问题研究>(10K016)
关键词
真理
艺术
艺术作品
诗
美学道路
truth
art
artistic work
poem
aesthetic path