摘要
海德格尔中后期提出了艺术与物性的关系问题,批评了特性的载体、感觉多样性的统一体和具有形式的质料三种关于物的规定方式,认为创作是让某物作为一个被生产的东西而出现,作品把物因素置入敞开的领域中加以显现。海德格尔的思考奠基于其艺术存在论,体现了他对艺术是什么以及人是什么的思考,与20世纪艺术的走向相关联,进而成为当代美学以及艺术理论中争论的一个核心问题。虽然其他美学家或思想家大多不是沿着海德格尔本人的思路,而似乎是将其批评过的思路加以改造进行探讨,但是在反模仿论、反形而上学方面却与海氏异曲同工。
In his middle and later writings,Heidegger puts forward the issue of the relation of art and objecthood,holding that creation presents an object as a production and an artwork manifests the thingly element in a broad field,with criticism of the three definitions of the thing： the thing as a carrier of properties,the thing as a unit of sensorial perception,and the thing as matter moulded in a particular form. Heidegger＇s ideas based on his art ontology reflect his thoughts about what art is and what a human being is,which are related to the art trends of the 20^（th） century and then become a core issue of contemporary debates in aesthetics and art theory. Although other aestheticians or thinkers seem to discuss such issues in a remoulding way of what Heidegger criticizes while seldom following his own thinking,they are similar with Heidegger in the terms of anti-mimesis and anti-metaphysics.
出处
《文艺理论研究》
CSSCI
北大核心
2018年第1期170-176,共7页
Theoretical Studies in Literature and Art
关键词
海德格尔
艺术
物性
质料
反形而上学
Heidegger
art
objecthood
substance
anti-metaphysics
