摘要
帕托什卡通过发展黑格尔的观点,提出了艺术的两个时期的概念,即'艺术文化'时期与'美学文化'时期,二者的艺术作品都揭示出某种给予人类存在以基本参照点的意义,其中,艺术时期的艺术提供了客观的、具有约束力的意义,而美学时期的艺术提供了私人的、个体的意义。后期帕托什卡通过对黑格尔艺术过去性理论的解释,表明艺术揭示了作为意义之显露的存在论基础的时间性。两种时期的概念中的矛盾可通过后期帕托什卡对意义的'问题性'本质的反思来解决,这一本质在古典艺术中被遮蔽,在现代艺术中被重新揭示出来。
The article shows that in developing Hegel’s insight,Patocka offers a conception of two eras of art,the'artistic'era and the era of'aesthetic culture.'Patocka supposes that artworks of both the artistic era and the aesthetic era always open up a certain'meaning'that gives human existence its fundamental points of reference.The status of this world,however,radically changes from one era to the next.The art of the artistic era offeres objective and binding meaning,whereas aesthetic art offers personal or individual meaning.The article points to an important discrepancy in Patocka’s treatment of the relation between the two eras,and presents Patocka’s later reading of Hegel’s notion of the past character of art.From the perspective of this interpretation,art reveals temporality as the ontological basis of the revelation of meaning.The author argues that the discrepancy in the concepts of two eras can be resolved with the help of Patocka’s later reflections on the'problematic nature'of meaning;in classical art such a nature is concealed,whereas in modern art it is revealed again.
作者
米洛斯·舍夫契克
俞燚帆
Milos Sevcík;YU Yifan(Department of Philosophy,West Bohemian University in Pilsen;Department of Aesthetics,Charles University;Department of Philosophy,Tsinghua University)
出处
《清华西方哲学研究》
2017年第2期291-312,共22页
Tsinghua Studies in Western Philosophy
