【作者】 李旭；

【导师】 陈嘉映；

【作者基本信息】 华东师范大学 ， 语言学与应用语言学， 2009， 博士

【副题名】论海德格尔对席勒与黑格尔的人文主义美学思想之超越

【摘要】 海德格尔在二战后的《论人道主义的信》中追述了欧洲人道主义的谱系，其中以温克尔曼、歌德、席勒为代表的德意志人文主义是这一谱系中古典人文主义的最后一个阶段，他认为荷尔德林不属于人文主义之列，荷尔德林对古希腊和对人的本质的理解都比人文主义更本源，因此他独许荷尔德林而不满于各种人道主义思想。1934-35年冬季学期阐释荷尔德林诗歌的课程是海德格尔与荷尔德林诗歌长期对话的开始，其基本的动机和主题都已经包含其中。1935年的演讲《艺术作品的本源》是他以独立、公开的方式讲论艺术问题最有影响的文本，而其最重要的论争对象是总结发展了德意志人文主义艺术思想的黑格尔的《美学》。我这篇论文的主题就是研究海德格尔阐释下的荷尔德林在哪些方面超出了席勒，海德格尔又是如何从《存在与时间》的视野和荷尔德林的指引而来在《艺术作品的本源》中回应席勒、黑格尔一脉的德意志人文主义美学的。论文的第一章分析席勒《审美教育书简》中的人文主义美育思想和他的悲剧理论。席勒的美育思想以康德的批判哲学为出发点，同时又试图弥补康德那里理性启蒙的不足，以审美游戏克服理性与感性、自由与自然的分裂，培养具有完整性格的人。席勒不满于美传统上的感性品性，赋予了美和艺术以理性、自由的意蕴，然而他的审美假象说表明他无法克服康德那里道德、审美与知识的分裂，因此他也不能最终克服自由与自然的分裂，只能牺牲自然以张扬道德的自由，这在他的悲剧理论中表现得很明显。第二章以自由概念为线索考察海德格尔的生存论如何突破康德的人格学说，后者是席勒美育思想的形而上学基础。康德所论证的道德人格是一种超历史的抽象、现成的存在，处在一种与知识分离、与感性生命对立的格局中。海德格尔在《存在与时间》中阐发出了一种历史性的、整全的在世生存，其中对现身情态、领会和话语的阐释突破了“人是理性的动物”这一人文主义的形而上学前设，也为他后来阐释荷尔德林的诗歌、讲论艺术的本质准备了先行的视野和概念。第三章介绍了海德格尔1934年对荷尔德林的“日耳曼尼亚”与“莱茵河”两首颂歌的解释。海德格尔的解读分两部分，第一部分海德格尔阐释了荷尔德林的语言思想以及“日耳曼尼亚”这首诗的基本情感，在荷尔德林那里，诗的语言作为诗人对诸神之暗示的承应和在民众中的进一步传达创建着人在大地上的栖居，人在这种历史性的栖居中居有其本质，而不只是如人文主义者以为的那样是“理性的动物”。作为基本情感为“日耳曼尼亚”一诗定调的“神圣的哀伤”敞开了古老诸神的遁去、家乡水流的陪伴、将来使命的催促这撕扯的时间中保持着亲密的冲突情境，“神圣”成就于这对峙者的亲密中，它是一种历史性地显现的完满自然，在其中自由与自然的对立达到了真正的和解，而不是席勒那里假象似的和解。《莱茵河》一诗咏唱给一个民族带来栖居的半神，酒神就被思为带来诸神与大地之子的亲密，让命运一度达成均衡的力量。海德格尔把这种诸神与人类之间的亲密状态解释为既对立又和谐的“冤家状态”。第四章通过与黑格尔《美学》的对照分析《艺术作品的本源》为什么从物性因素着眼追问艺术的本质，分析海德格尔超越对象化的态度进入作品中世界与大地之亲密争斗的努力，这种争斗就是真理作为存在的无蔽状态在作品中的源始演历。在伟大作品中得到安顿的真理具有美而神圣的形态，它的创建是一个民族历史的本源。这种真理比黑格尔在近代确定性的追求下发展出来的辩证逻辑的真理更本源，它那疏明和掩蔽之间的争斗需要艺术的创作和葆真，荷尔德林的诗作就开启了这种神圣真理再度发生的可能性，海德格尔以此动摇黑格尔关于伟大艺术已成过去的判词。余论部分简要探讨了海德格尔与荷尔德林对我们重新思考汉语新诗的百年追求与儒家诗教传统之间关系的启发。20世纪初的青年鲁迅的《摩罗诗力说》呼唤以一种蛮野的新力量激发国民精神、挽救中国文化的颓势，为此他引介了争天抗俗的摩罗诗派，实即欧洲19世纪的浪漫派，开始与儒家温柔敦厚的诗教传统决裂。20世纪末的海子以他激情奔放的创作将浪漫主义蛮野、感伤的诗歌精神发展到了极致，然而他绝命前夕的抒情和他的自杀身亡也给浪漫主义“野蛮而悲伤”的性情打上了一个沉重的问号。这并不意味着我们要简单地回归儒家温柔敦厚的诗教传统，要应对现代技术世界艰难的情势，确立华夏旧邦新的使命，更新汉语诗歌的精神和中国文化是必要的。海德格尔的艺术思想超出了人文主义的视野，但又不是象浪漫主义那样简单地以反理性、反传统为能事，他艺术思想的存在历史视域与儒家诗教思想的王道历史关怀有相通处，但在阐旧邦(希腊)之外具有更强的立新命的冲力，而且又对现代人本主义的迷误有清醒的反思，为我们思考华夏诗教的未来提供了一块很好的他山之石。更多还原

【Abstract】 In his Letter on Humanism Heidegger recounts the descent of European Humannism.According to him,German humanism extends in the l8th century from Winckelmann to Schiller.Among those German thinkers,as he holds,Hoelderlin is not a humanist,for Hoelderlin’s viewabout the essence of human being was more original than humanists.Heidegger’s interpretation ofHoelderlin’s poems goes back to the winter semester of 1934,when his readings of Hoelderlin’sGermania and The Rhein entail the basic motive and topic of his later conversations with the poet.In 1935 His lecture The Origin of Artwork launched in the horizon from his interpretation aboutHoelderlin.In this text Heidegger argues that art is something into which truth sets itself.Such afamous conclusion turns out to be an effective revision of Hegel’s Aesthetik,whose standpoint,Ithink,also belongs to humanism.In which aspects,according to Heidegger,does Hoelderlintranspasse Schiller’s humanistic asthetics? How can Heidegger overcome humanism by way of areflection on art? Such are the topics of my dissertation.The first chapter analyzes Schiller’s humanism with an eye to his Letters upon AestheticEducation of Man and his theory of tragedy.Schiller sets out to reunite the gap between moralityand sensual life,between freedom of person and human nature that constitutes the defect of Kant’smoral philosophy.Schiller thought that aesthetic education is the only approach to political liberty.He defines ideal beauty as lively figure (lebendige Gestalt),which is the integration of formalimpulse and sensual impulse.But Schiller took this integration as aesthetic appearance,althoughdifferent from logic appearance,nevertherness is not truth or reality.This shows that Schillercouldn’t overcome the gulf between what ought to be and what is,and therefore the gulf betweenmoral liberty and nature.His theory of tragedy inclines to depreciate nature and drum for moralwill.The second chapter discusses how Heidegger’s Existenzial break through Kant’s theory ofpersonality,which is the metaphysic foundation of Schiller’s aesthtics.Kant distinguishes betweenperson and things,taking personality as the ground for moral freedom.In The Basic Problems ofPhenomenology Heidegger indicates that personality in kant’s philosophy is a ready-made being,and kant fails to explain the oneness of moral and cognitive personality,so the wholeness of selfhas not been illuminated.In his Being and Time Heidegger elucidates that Dasein’sbeing-in-the-world is a historical and holistic existence,which is antecedent to the distinctionbetween theoretical and practical activity.His analysis of attunement,understanding and discourseas disclosedness of Da-sein breaks through the definition of human being as animal rational,which is a metaphysical foundation of Humanism.The third chapter introduces Heidegger’s interpretation on Hoelderlin’s hymn Germania andThe Rhein in 1934.The lecture is made of two parts.In the first part Heidegger elucidatesHoelderlin’s thought on poem and language.He holds that poem is not mere expression fromexperience (Ausdruckerscheinung von Erlebnissen).According to Hoelderlin,being a poet is to beexposed to the lightning of gods and to transmit the hints of gods to his people.The songs of poettake place as a meditative conversation (Gespraech).Such a conversation,being original,foundsthe historical essence of human being as poetic dwelling on the earth.Heidegger analyses thefundamental attunement (Grundstimmung) in Germania.Fundamental attunement,as he explains,shows the historical situation of a poem.He points out that the fundamental attunement ofHoelderlin’s Germania is a holy mourning and a push of on-call.Holiness,which means complete selflessness (vollendete Uneigennuezigkeit),is a basic word for Hoelderlin.Heidegger interprets itas intimacy (lnnigkeit) of gods and earth that found in the fundamental attunement of poem.Presented in Hoelderlin’s poem as omnipresent nature,the holiness inscribed in Hoelderlin’ hymnexceeds the aesthetic appearance of Schiller’s aesthetic education,for it achieves trulyreconciliation of liberty and nature.With his task fulfilled,poet attains the reconciliation of godsand sons of earth.In The Rhein Hoelderlin becomes aware of his destiny as demigod,just likewinegod and the Rhein which bring habitat for German people.As demigod,poet founds theintimacy among earth,the mother,and heaven,the father,the effect of education andembarrassment.The four factors of the lucidus flow of songs flow into a river.Heideggerinterprets this intimacy as antagonistic symbiosis (Feind-seligkeit) from Heraclitus’ teaching ofwarfare as principle of all beings and hidden harmony.The fourth chapter compares Heidegger’s Origin of ArtWork with Hegel’s lecture onAesthtics.Heidegger points out that Hegel’s aesthtics is a most comprehensive contemplation onart.In my view,it’s especially a colligation of German humanism such as Wincelman and Schiller.We thereby can understand what is outstanding in Heidegger’s quest for the essence of art in lightof the thingness(Dinghaft) of artwork.Heidegger reveals that the essence of art in western historyhomologizes with the essence of truth.Only if we overcome the aesthetic attitude to artwork canwe understand great works such as Greek temple.What into-work-set is the intimate strifebetween world and earth.This set is a kind of original taking place of truth as uncoverness,inGreek word aληθειa The original truth set into work has shape of holy beauty.According to Heidegger,beauty is not a parallel to truth,but belongs to the brilliance of truth.Theoriginal truth taken place in great art anticipates the coincidence between propositions and facts.Hegel also takes truth as such kind of coincidence.But Heidegger drops a hint in the end of thelecture that Hoelderlin’s poem indicates a request and possibility of residing in original truth.Bydoing this Heidegger questions Hegel’s conclusion that art is no longer the highest mode ofexistence of truth.In the addendum I discuss the possible inspiration of Heidegger’s thought on great art toChinese new culture.In early 20th.century,the young LuXun published his On the Power of MoroPoem (《摩罗诗力说》),where he introduces Romantic poets prevailing in 19th.century of Europe.He exalts the poets once cursed as Lucifer.(Translated from Sanskrit,the Chinese word摩罗is asupplement for Lucifer).He thinks that the wild vigour in the poems of Romantist such asByron,Shelley,Pet(o|¨)fi and so on promotes the rebirth of old Chinese culture.In this treatise LuXunrevolts against Confucianism,whose teaching of poetics emphasizes gentilesse and piety(温柔敦厚).Thanks to LuXun’s introduction,European Romantism,rooted profoundly in humanism,hada far-reaching influence on Chinese modern poem.The inspiration and crisis of Romantism findstheir full expression in Haizi,whose gifted poems characterize the romantic trend of contemporaryChina.As a poet self-proclaimed with wild and grieved temperament,Haizi shows both powerand crisis of Romantism.To rescue Chinese culture from the negative aspects of Romatism,Iwould like to introduce Heidegger,whose reflection on humanism may play a positive role.更多还原