由主体到本体——伽达默尔游戏理论研究

发布时间：2018-01-06 16:27

本文关键词：由主体到本体——伽达默尔游戏理论研究　出处：《曲阜师范大学》2010年硕士论文　论文类型：学位论文

【摘要】： 本文从伽达默尔游戏理论的基本概念入手对其加以分析,指出该理论与传统游戏理论的根本不同。传统游戏观认为,人是游戏的主体,人的一切行为无论是现实生活还是艺术创作都是为了实现人的自由。人的自由在主体性美学那里被赋予了至高无上的地位。伽达默尔对这一观点进行了反驳,指出在游戏中游戏者已不再是游戏的主体,游戏者只是游戏的组成部分,或者说是游戏实现自我表现的执行者,自我表现则是游戏的本质。基于这一点,观赏者被放到了十分重要的地位,游戏中如果缺少了观者,游戏就失去了意义,如同一部文学作品如果缺少了读者的阅读跟摆在地上的石头没有任何区别。因此,接受者对艺术作品的阅读欣赏成为艺术作品不可或缺之维,这种本体论思维模式是对主体性认识论的巨大超越。不仅如此,伽达默尔还指出,游戏就是构成物,游戏经过转化成为艺术,这一转化后的游戏就是构成物,即艺术。本文还从伽达默尔游戏理论的表现入手阐明其理论对主体性美学的颠覆。主要从两个方面阐述伽达默尔游戏理论的表现：语言游戏和节日庆祝。《真理与方法》对语言的理解及分析,不仅阐述了视域融合、时间距离、效果历史等概念,更重要的是对语言游戏进行了独特的解释,认为语言游戏就是理解,本质上是解释者与文本之间的对话,在此游戏过程中,双方所谈事物本身达于语言。可见,在理解活动中人与文本不再处于对立状态,而是通过语言融为一体。这一点是对主体性美学所主张的主客二元对立的否定与批判。伽达默尔游戏理论的另一个表现即节日庆祝,体现在他的晚期著作《美的现实性》中,该著作不仅系统地阐述了游戏的基本特征,还对游戏的时间性作了具体的分析,赋予了节日庆祝不同于其它时间的特性。一般人认为游戏只表现于一定的空间,其实不然,它在时间上也有一定的表现。伽达默尔将时间分为空洞的时间和充实的时间,只有在充实的时间里,人们才会去欣赏、阅读停留的瞬间,人们才能丧失自己的个体性而融入到作为整体的节庆游戏中。本文正是从大多研究者所忽略的游戏的时间性入手对伽达默尔的游戏理论展开进一步论述的。在后现代语境下,伽达默尔游戏理论的精神日益彰显出它特有的当代意义,它以本体论为出发点和落脚点,有助于我们更好地从美学角度探讨如何挣脱物欲的束缚,真正促进人的全面和谐发展。
[Abstract]:This paper from the basic concept of Gadamer's game theory of the analysis, pointed out that the theory is fundamentally different and traditional game theory. The traditional view of the game, who is the subject of the game, all human behavior in real life and art creation is to realize people's freedom. The freedom of the people in the subjective aesthetic there is given the supreme position. Gadamer refutes this view, the game in the game is no longer the subject of the game, the player is just part of the game, or a game of self realization is performed, self-expression is the nature of the game. Based on this point, the viewer is on the very the important position of the game without the viewer, the game has no meaning, as a literary works without the readers in the stone with no What difference. Therefore, the recipients of the works of art appreciation of works of art become the indispensable dimension, the ontological thinking mode is of great understanding of transcendental subjectivity. Not only that, Gadamer also pointed out that the game is a game, transformed into art, this is the game after transformation components, i.e. art.
This paper starts with the theory of subjectivity aesthetics from the Gadamer game theory. Mainly expounds Gadamer's game theory from two aspects: language games and festivals. Truth and method > understanding and analysis of language, not only describes the fusion of horizons, time distance, effective history concept, more important is a unique interpretation of language game, that is to understand the essence of language game, is explained and the text of the dialogue, in the course of the game, both of which things themselves in language. Therefore, in understanding human activities with the text is no longer in a state of confrontation, but through language. This point is the subject of two opposite and negative criticism advocated in subjectivity aesthetics. Another aspect of Gadamer's game theory of holiday celebrations, reflected in his later works "beauty Reality ", the author expounds the basic characteristics of the game, the game time also made specific analysis, given the festival is different from other time. Most people think the game only in a certain space, in fact, it also has a certain performance in time. Gadamer will be divided into empty time and full time, only in full time, people will go to enjoy reading, stay the moment, people can lose his own individuality and into the festival game as a whole. This is the time ignored by most researchers from the game of Gadamer the game theory is further discussed.
In the post-modern context, the spirit of Gadamer's game theory is increasingly showing its unique contemporary significance. Taking ontology as its starting point and foothold, it helps us to better explore how to get rid of the constraints of material desires from an aesthetic point of view, and truly promote the all-round and harmonious development of human beings.

【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：I01

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