摘要
海德格尔哲学试图用存在一元论超越传统哲学的主客二元论,在《艺术作品的本源》中,他将美界定为“美乃是作为无蔽的真理的一种现身方式”,改变了传统美学中美与真对立的局面,实现了真与美的内在统一,推动了哲学与美学的转向,但同时也在更高层次上陷入了主客对立的矛盾,美学又走入了新的迷惘。
With his monism of being, Heidegeer endeavors to transcend the traditional bionism. In the origin of work of art, beauty was defined as one way to show its bare truth. The traditional opposition between Beauty and Truth was altered, and a way was paved toward the internal unity between Beauty and Truth. When promoting the turning of philosophy and aesthetic, it was also strapped in the opposition between object and subject of a higher level. Aesthetics was lost again.
出处
《湖北经济学院学报》
2005年第1期104-107,共4页
Journal of Hubei University of Economics
