《艺术作品的本源》中的“世界”与“大地”  

“World” and “Earth” in “The Origin of the Work of Art”

作　　者：暴佩聪 

机构地区：[1]陕西师范大学文学院,陕西 西安

出　　处：《哲学进展》2024年第7期1626-1631,共6页Advances in Philosophy

摘　　要：《艺术作品的本源》是海德格尔20世纪30年代思想转向时期的重要代表作,在其思想发展史上有着举足轻重的地位。“世界”和“大地”则是探讨《艺术作品的本源》不可或缺的两个概念。“世界”在作品中有三种内涵:以“此在”为中心的“周围世界”,以物为中心的原初“场域世界”和以世界自身为整体的“世界本身”。“大地”的基本内涵则是自然界意义上的“土地”,作为基地和庇护者的“大地”,以及通过置造显现的“大地本身”。尽管“世界”和“大地”的内涵有各自的所指,但两者之间的关系却是休戚相关、对立统一的。由此,“世界”和“大地”这两个概念在作品中最终的落脚点便指向作品之存在、真理以及人的思考,回答了海德格尔的“本源”之疑。The Origin of the Work of Art is an important representative work of Heidegger’s ideological turning period in the 1930s, and plays a pivotal role in the history of his intellectual development. “World” and “earth” are two concepts that are indispensable for the discussion of The Origin of the Work of Art. The “world” has three connotations in the work: the “surrounding world” centered on the “Dasein”, the original “field world” centered on the object, and the “world itself” with the world itself as a whole. The basic connotation of “earth” is “land” in the sense of nature, “earth” as a base and shelter, and “earth itself” that manifests itself through creation. Although the connotations of “world” and “earth” have their own meanings, the relationship between the two is closely related and opposite. In this way, the final foothold of the two concepts of “world” and “earth” in the work points to the existence of the work itself, truth, and human thinking, answering Heidegger’s question of “origin”.

关 键 词：艺术作品的本源 世界 大地 海德格尔 对立统一 

分 类 号：B51[哲学宗教—外国哲学]