现成品与真理的摆置——对杜尚《泉》的海德格尔式解读  

Readymade and the Placing/Stellen of Truth: A Heideggerian Interpretation of Duchamp's“Fountain”

作　　者：缪羽龙[1] Miao Yulong(School of Foreign Languages,Taizhou University)

机构地区：[1]台州学院外国语学院

出　　处：《文艺理论研究》2018年第5期43-49,共7页Theoretical Studies in Literature and Art

基　　金：2016年台州市社科联研究项目"尼采眼中的哈姆莱特"[项目编号:16YA04]的阶段性成果~~

摘　　要：海德格尔通过对柏拉图洞穴隐喻的颠覆性思考恢复了真理(aletheia)的源始含义,并把艺术作品的本源建立在与真理的关系之上。所谓艺术对大地的制造(herstellen)和对世界的建立(aufstellen),就是真理的摆置(Stellen)和集置(Ge-stell)。对杜尚的《泉》的海德格尔式解读将很好地证明作为真理摆置的现成品艺术的合法性。Through his subversive thinking of Plato's cave metaphor,Martin Heidegger has restored to truth (aletheia)its original significance.Then he bases the origin of art on its relation with truth.The so-called producing (herstellen)of the Earth and instituting (aufstellen)of the World is exactly the placing (Stellen)and placing-together (Ge-stell)of truth.A Heideggerian interpretation of Marcel Duchamp's "Fountain"will attest excellently to the validity of readymade art as the placing/stellen of truth.

关 键 词：海德格尔 真理 集置 杜尚 现成品 

分 类 号：J05[艺术—艺术理论]