摘要
伽达默尔的解释学美学以"审美无区分"去对立于主体美学的"审美区分",旨在使全部精神科学的真理性得到本体论上的证明。"审美区分"将作品与现实世界割裂开来,容易陷入"诠释学虚无主义"的理论困境,"审美无区分"则确立了艺术以"表现"作为自己的存在方式,悲剧、绘画、文学等艺术门类的作品都是与其世界不可分的,并以"非审美"为背景展开的审美体验,这种关系即"偶缘性"。
Gadamer presents ＂aesthetic without distinction＂ by means of criticizing Kant＇s subjectivity, he thinks that the art work contains aesthetic and non-aesthetic factors, which has its own ＂superior truth＂ differ from the theory of knowl-edge. And then he turns to establish the ontogy of art works from subjective aesthetic, that means art is ＂play＂ on the es-sence. Therefore, such arts disciplines like tragedy, painting and literature are open to the readers, and develop an overall significant world, which with their own self-experiences.
出处
《宜宾学院学报》
2012年第5期22-26,共5页
Journal of Yibin University
关键词
“审美区分”
“审美无区分”
艺术
aesthetic distinction
aesthetic without distinction
art
