欢迎访问《文艺理论研究》，
文艺理论研究

文艺理论研究 ›› 2021, Vol. 41 ›› Issue (3): 157-165.

• 艺术理论研究 • 上一篇    下一篇

从“真理”到“地方”——论海德格尔艺术思想的“转向”

丰雅鑫   

  1. 武汉大学哲学学院；德国弗莱堡大学哲学系
  • 出版日期:2021-05-25 发布日期:2021-05-11
  • 作者简介:丰雅鑫，武汉大学哲学学院博士生，德国弗莱堡大学哲学系联合培养博士生，主要从事西方美学理论尤其是海德格尔美学理论研究。
  • 基金资助:

    本文为国家留学基金委“建设高水平大学公派研究生”项目[项目编号：201906270026]的阶段性成果。

From “Truth” to “Place”: On the Turn of Martin Heidegger’s Artistic Thought

Feng Yaxin   

  1. School of Philosophy, Wuhan University; Department of Philosophy, Freiburg University, Germany
  • Online:2021-05-25 Published:2021-05-11
  • About author:Feng Yaxin is a Ph.D. candidate at the School of Philosophy, Wuhan University and a visiting Ph.D. candidate at the Department of Philosophy, Freiburg University, Germany. Her research interest includes Western aesthetics, especially that of Martin Heidegger.
  • Supported by:
    This article is supported by the China Scholarship Council (201906270026).

PDF (PC)

96

摘要： 关于海德格尔的思想分期，学界达成的基本共识即：以其20世纪30年代的思想“转向”为界线划分为早期和晚期思想。但需要引起注意的是，海德格尔在三十多年后的勒·托尔讨论班中以三个关键词——意义、真理、地方——标明其思想道路上的三个站点。由此，根据海德格尔自身的规定，其思想实际上发生过两次“转向”并因此被划分为早、中、晚三个时期，其对应的主题分别是“存在的意义”“存在的真理”“存在的地方”。与此同时，其艺术思想也不该局限于“真理”的理论视域，而是经历了中期到晚期的发展，最终落脚于艺术与“地方”的关系。与中期“艺术乃存在的真理自行设置入作品”不同，晚期“艺术乃存在的地方创建于作品中”。在厘清了海德格尔艺术思想的“转向”之后，还应超出海德格尔去沉思：海德格尔的艺术之思究竟揭示了艺术的本质还是遮蔽了其独立性？

关键词: 海德格尔, 真理, 地方, 艺术

Abstract: Chinese scholars have reached a basic consensus on the periodization of Martin Heidegger that his thought can be divided into early and late stages by the ideological turn in the 1930s. Noticeably, however, at the Le Thor seminar more than three decades later Heidegger used three keywords — meaning, truth, and place — to mark the three stages in the development of his thought. In accordance with Heidegger’s own rule, his thought had two turns and were thus divided into the early, middle, and late periods, the subjects of which are respectively “the meaning of being”, “the truth of being”, and “the place of being”. At the same time, Heidegger’s artistic thought is not confined to the theoretical horizon of “truth”, but has experienced a development from the middle to the late period and ultimately focused on the relationship between art and “place”. Different from the observation that “art is the setting-itself-to-work of truth” in the middle period, Heidegger argues that “art is the place created in the work” in the late period. After clarifying the turn of Heidegger’s artistic thought, it is necessary to go beyond Heidegger to think over: Does Heidegger’s artistic thought reveal the nature of art or conceal its independence?

Key words: Martin Heidegger, truth, place, art