伽达默尔关于艺术与游戏的理论

发布时间：2018-04-01 17:34

本文选题：游戏　切入点：解释　出处：《华中师范大学》2008年硕士论文

【摘要】： 通过游戏论述艺术,自康德以来,是西方艺术理论的一个重要的视角。伽达默尔的关于游戏与艺术的看法在西方历史上具有转折性的意义。本文以伽达默尔的游戏观点为切入点,梳理和分析伽达默尔关于艺术的基本理论。本文分三章:第一章,本章主要论述伽达默尔本体论的游戏观。首先,本章论述了伽达默尔之前的主观论的游戏观,通过对康德、席勒、胡伊青加的游戏观进行论述,发现主观论背景下的游戏观认为游戏的主体是游戏者,游戏者决定着游戏的意义。接着本章论述了伽达默尔的本体论游戏观。本体论游戏观的与过去主观论游戏观最大的不同在于,伽达默尔认为游戏的主体不是游戏者而是游戏本身。这也就是意味着决定游戏意义的不是再是游戏者,而是游戏本身。游戏的存在就是为了表现自身。表现意味着存在观者,观者在这里不是主观论游戏中的被动的观赏者,而是参与了游戏意义的形成,使游戏具有了开放性。游戏的时间特征也证明了游戏的这种开放性。第二章,本章主要论述伽达默尔“游戏是艺术的存在方式”的艺术观。首先本章论述了从游戏向艺术的构成物的转化。构成物意味者艺术作品的意义是在形成之中的,是开放的。转化意味着艺术作品发生了质的飞跃,艺术作品与艺术家的主观性相脱离。向构成物的转化也就是一个艺术作品脱离主观性,展现自身真理性的过程。其次,因为艺术作品的存在方式与游戏相同,都是自我表现。自我表现意味着是对真理的表现,是对存在扩充,再次,本章论述了艺术作品的同时性的时间经验。最后,本章论述了欣赏者同在的存在方式。第三章,伽达默尔认为艺术的理解是属于解释学的一部分,他对艺术的探究是为了构建其哲学解释学的大厦。因此本章主要论述艺术解释问题。首先本章论述了伽达默尔关于艺术真理的看法。因为真理问题是其艺术解释的一个基石。伽达默尔的真理观是建立在海德格尔存在论真理观上的存在论真理与人文真理的结合。这种真理观发展到精神科学领域,产生了哲学解释学。其次,本章通过偶缘物与视域融合两个概念论述了艺术与解释的关系。偶缘物意味着艺术作品意义与艺术作品所处的境遇有关,且是被这种境遇所规定的。视域融合意味着艺术作品的视域不是固定的,而是一个多种视域融合的结果,是处在变动之中的。
[Abstract]:Discussing art through game is an important angle of view of western art theory since Kant.Gadamer's view on game and art has a turning significance in western history.This paper combs and analyzes Gadamer's basic theory of art from Gadamer's point of view of game.This paper is divided into three chapters: the first chapter, this chapter mainly discusses Gadamer's ontology of the game view.First of all, this chapter discusses Gadamer's subjective view of the game before, through the Kant, Schiller, Hu Yitinga's view of the game, found that the subjective background of the game view that the game is the main player.The player determines the meaning of the game.Then this chapter discusses Gadamer's ontology game view.The biggest difference between ontology and subjective view of game lies in Gadamer's view that the main body of the game is not the player but the game itself.This means that it is not the player who determines the meaning of the game, but the game itself.The game exists to express itself.The timing of the game also testifies to the openness of the game.In the second chapter, this chapter mainly discusses Gadamer's artistic view that game is the existence of art.First of all, this chapter discusses the transformation from game to art.The meaning of the artistic works of the constituent signifier is in the process of formation and is open.The transformation means that the works of art have made a qualitative leap, and the works of art are divorced from the subjectivity of the artist.The transformation to composition is also a process that works of art break away from subjectivity and show their own truth.Secondly, because works of art exist in the same way as games, they are self-expression.Self-expression means the expression of truth and the extension of existence. Again, this chapter discusses the simultaneous time experience of art works.Finally, this chapter discusses the existence of the audience.In the third chapter, Gadamer thinks that the understanding of art is a part of hermeneutics, and his exploration of art is to construct the edifice of his philosophical hermeneutics.Therefore, this chapter mainly discusses the artistic interpretation.First of all, this chapter discusses Gadamer's views on artistic truth.Because the question of truth is one of the cornerstones of its artistic interpretation.Gadamer's view of truth is the combination of existential truth and humanistic truth based on Heidegger's ontology.This view of truth developed into the field of spiritual science, resulting in philosophical hermeneutics.Secondly, this chapter discusses the relationship between art and interpretation through the concepts of coupling and horizon fusion.The meaning of the works of art is related to the situation in which the works of art are situated.Visual fusion means that the view of art works is not fixed, but the result of a variety of horizons fusion, is in the process of change.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：J0-02

【引证文献】