【作者】 秦佳；

【导师】 王济民；

【作者基本信息】 华中师范大学 ， 文艺学， 2008， 硕士

【摘要】 通过游戏论述艺术,自康德以来,是西方艺术理论的一个重要的视角。伽达默尔的关于游戏与艺术的看法在西方历史上具有转折性的意义。本文以伽达默尔的游戏观点为切入点,梳理和分析伽达默尔关于艺术的基本理论。本文分三章:第一章,本章主要论述伽达默尔本体论的游戏观。首先,本章论述了伽达默尔之前的主观论的游戏观,通过对康德、席勒、胡伊青加的游戏观进行论述,发现主观论背景下的游戏观认为游戏的主体是游戏者,游戏者决定着游戏的意义。接着本章论述了伽达默尔的本体论游戏观。本体论游戏观的与过去主观论游戏观最大的不同在于,伽达默尔认为游戏的主体不是游戏者而是游戏本身。这也就是意味着决定游戏意义的不是再是游戏者,而是游戏本身。游戏的存在就是为了表现自身。表现意味着存在观者,观者在这里不是主观论游戏中的被动的观赏者,而是参与了游戏意义的形成,使游戏具有了开放性。游戏的时间特征也证明了游戏的这种开放性。第二章,本章主要论述伽达默尔“游戏是艺术的存在方式”的艺术观。首先本章论述了从游戏向艺术的构成物的转化。构成物意味者艺术作品的意义是在形成之中的,是开放的。转化意味着艺术作品发生了质的飞跃,艺术作品与艺术家的主观性相脱离。向构成物的转化也就是一个艺术作品脱离主观性,展现自身真理性的过程。其次,因为艺术作品的存在方式与游戏相同,都是自我表现。自我表现意味着是对真理的表现,是对存在扩充,再次,本章论述了艺术作品的同时性的时间经验。最后,本章论述了欣赏者同在的存在方式。第三章,伽达默尔认为艺术的理解是属于解释学的一部分,他对艺术的探究是为了构建其哲学解释学的大厦。因此本章主要论述艺术解释问题。首先本章论述了伽达默尔关于艺术真理的看法。因为真理问题是其艺术解释的一个基石。伽达默尔的真理观是建立在海德格尔存在论真理观上的存在论真理与人文真理的结合。这种真理观发展到精神科学领域,产生了哲学解释学。其次,本章通过偶缘物与视域融合两个概念论述了艺术与解释的关系。偶缘物意味着艺术作品意义与艺术作品所处的境遇有关,且是被这种境遇所规定的。视域融合意味着艺术作品的视域不是固定的,而是一个多种视域融合的结果,是处在变动之中的。更多还原

【Abstract】 To discuss art through play has been an important perspective of Western art theory since Kant. Gadamer’s view of the play and art has a turning meaning in the western history. In this paper, I will regard Gadamer’s play concept as the breakthrough point, card and analysis Gadamer’s basic theory on the art.This paper has three chapters:Chapter I, this chapter focuses on Gadamer’s view of the play which has a background of the ontology. First, I discuss the concept of the play which has a background of the subjective before Gadamer. Through discusses the Kant’s, Schiller’s, Huizinga’s the concept of the play, found on the subjective concept of the play have a point that the main body of the play is player, players determine the play’s significance. Second, I discuss Gadamer’s concept of the play. The biggest difference between ontology concept of the play and subjective concept of the play of the past, lies in the fact that Gadamer thought the main body of play is not player, but the play itself. This means the decision of the significance of the play is not to the player, but the play itself. The play is to the being of Self-expression. Expression means that the being of guests, here guests is not the passive spectator in subjective concept of the play, but to participate in the formation of the significance of the play, with the play open. Play time has proved that the characteristics of this play open.Chapter II, this chapter focuses on Gadamer’s art view of "the play is the art of being". First, I discuss the transformation from the play to creation. Creation means the significance of art in the form of, is open. Transformation means that art happen a qualitative leap, art is divorced from artists’ subjectivity. Transformation to creation means that is out of a subjective, demonstrated the truth of their own. Second, because the being of art and the being of play are in the same way, are self-expression. Self-expression means that the performance of the truth, the being of the expansion. Third, this chapter discusses the being of art at the time of the experience which is Simultaneity. Finally, this chapter discusses the being of guests which is dabeisein.Chapter III, Gadamer have a point that art hermeneutics is a part of hermeneutics, he explore the art for constructing his hermeneutics. So this chapter focuses on art hermeneutics. First, chapter discusses Gadamer’s views of the art truth. Because his art hermeneutics basis on the view of truth. Gadamer’s view of truth, which is combined ontology truth and the truth of the humanities, is built on the being of Heidegger view of truth. This view of the truth develops to such a spirit of scientific fields, had a philosophy hermeneutics Second, this chapter discusses the relationship of art and explain through okkasionalitae and horizon integration. Okkasionalitae means that the significance of art has relation with opportunities, and determine by opportunities. Horizon integration means that the view of works of art is not fixed, but a multi-domain integration, as a result of the change.更多还原