海德格尔的现象学美学论析  

On Heidegger's Phenomenology Aesthetics

作　　者：肖朗[1] 

机构地区：[1]西南政法大学马克思主义学院,重庆401120

出　　处：《武汉理工大学学报（社会科学版）》2015年第6期1067-1074,共8页Journal of Wuhan University of Technology:Social Sciences Edition

摘　　要：海德格尔依照古希腊词源对现象学一词的解释是:让人从显现的事情本身那里如它从其本身所显现的那样来看它。海德格尔现象学美学可分为两个主要部分:艺术和诗意。艺术作品是真理的发生,是人与物进入其无遮蔽状态,也是各自本性的显现。语言的本性是道说,即把在场者带入其在场中而使之显现。诗歌通过给存在者命名来道说存在,诗歌通过呼唤将天地人神聚集到自身。海德格尔的诗意居住是从四个维度展开的:即在大地上、在天空下、与其他人为伍、同时等待神灵,而且四元是一种共生和游戏的关系。而这四元的聚集就是物,物是生成的,即自身显现的事情。Heidegger explained the word ＂phenomenology＂, and his explanation was obviously based on its original Greek meaning： To let what shows itself be seen from itself, just as it shows itself from itself. Heidegger＇s phenomenology aesthetics includes two main parts, arts and poetic. The arts is occurring of truth, in which the human being and thing enter the unclosing state. This is the nature＇s showing of the human being and things too. The language＇s nature is sagen, which brings the presence to the presence and lets to show. The poem brings the Being＇s openness to language and remains it in the language through the sagen. The poem aggregates sky, earth, divinities and mortals to itself by calling. Heidegger＇s poetic dwelling is deployed from four dimensionalities. ＂on the earth＂, ＂under the sky＂, ＂remaining before the divinities＂ and ＂belonging to men＇s being with one another＂. The four fold＇s relation is commensalism and playing. They assemble into thing, generated by showing itself.

关 键 词：海德格尔 现象学 美学 艺术和诗意 

分 类 号：B83[哲学宗教—美学]