自我消亡的通道:海德格尔论“诗人”  

Patbway to Self-Annihilation:Heidegger's Essays on“Poet”

作　　者：王倩龄 Wang Qianling(Zhejiang University;Hangzhou City University)

机构地区：[1]浙大城市学院 [2]浙江大学

出　　处：《世界文学评论（高教版）》2024年第2期36-38,共3页The World Literature Criticism

摘　　要：海德格尔关于诗人/艺术家的观点十分独特:成为作品的通道而消亡。他的诗人观与他的存在主义思想以及艺术哲学之间有着紧密的联系。海德格尔首先阐述了技艺是一种揭示和生产真理的形式;其次,他进一步区分了“制作的生产”和“创作的生产”,强调了艺术的创作的本质规定于艺术作品之中,在艺术品的敞开中将人带入真理之境;最后,海德格尔用“哀伤地弃绝”一语说明诗人/艺术家如何在作品中消亡自身从而成就作品之伟大:先是弃绝,然后倾听,最后命名。艺术家并不是凭借作品上的署名而赢得荣誉的胜利者,而是为了伟大艺术牺牲了自身的悲剧英雄。Heidegger's perspective on poets/artists is notably distinctive,characterizing tbem as conduits who vanish into the creation of their works.His conception of the poet is deeply intertwined with his existential philosopby and his philosophy of art.Heidegger first articulates that craftsmanship is a form of unveiling and producing truth;he then distinguisbes between“productive making”and“creative production”,underscoring that the essence of artistic creation is defined within the artwork itself,which brings individuals into the realm of truth through the openness of the art object.Ultimately,Heidegger uses the phrase“sorrowful abandonment”to describe how poets/artists dissolve their selves within their works,thereby achieving the grandeur of the work:first through abandonment,then by listening,and finally by naming.The artist is not a victor who gains honor through the signature on a work,but rather a tragic hero who sacrifices self for the sake of great art.

关 键 词：海德格尔 诗人 “通道” 

分 类 号：I106[文学—世界文学]