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文艺理论研究

文艺理论研究 ›› 2022, Vol. 42 ›› Issue (5): 13-26.

• 中国文艺理论学会第十五届年会会议专题 • 上一篇    下一篇

存在即媒介——海德格尔的媒介存在论及其诗学效应

单小曦   

  1. 杭州师范大学人文学院/文艺批评研究院

  • 出版日期:2022-09-25 发布日期:2022-09-25
  • 作者简介:单小曦，文学博士，杭州师范大学人文学院/文艺批评研究院教授，主要从事文艺理论、新媒介文艺理论研究。
  • 基金资助:

    本文系国家社会科学基金重大项目[项目编号：18ZDA282]及国家社会科学基金项目“当代中国新媒介文论话语建构研究”[项目编号：18BZW008]的阶段性成果。

Being Is Media: Heidegger’s Media Ontology and Its Poetic Effect

Shan Xiaoxi   

  1. School of Humanities/Research Institute of Literary and Art Criticism, Hangzhou Normal University
  • Online:2022-09-25 Published:2022-09-25
  • About author:Shan Xiaoxi, Ph.D., is a professor in the School of Humanities/Research Institute of Literary and Art Criticism at Hangzhou Normal University. His research focuses on literary theory, new media literature, and art theory.
  • Supported by:

    This article is supported by the Major Project of the National Social Science Foundation of China (18ZDA282) and the National Social Science Foundation Project (18BZW008).

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摘要：

媒介存在论是以媒介解释存在的学说。物质实体形态的媒介即媒介存在者，“媒介存在”即媒介存在者展现出的居间、聚集、揭示、去蔽/遮蔽等“去存在”的存在方式。海德格尔的存在论实质即媒介存在论，以某种媒介存在者抵达存在真理，即“媒介-存在”是其基本运思方式。其理论核心可以概括为：“存在即媒介”，世界存在不过是以媒介化方式运作的居间性涌现。此在“在世界中存在”的生存建构，也是此在的媒介化运作，此运作带出了用具“上手性”并催发万物互联或世界媒介化。语言媒介或通过此在“言谈”或自行“道说”命名和揭示万物，使物、人、世界皆归于本己，存在显现。摆脱了语言控制的物媒介“聚集”天、地、神、人，“物物化”“世界世界化”，召唤出了作为“亲密区分”的存在本身。本是诗性解蔽方式的技术，进入现代成为“座架”，以催逼、摆置、聚集、订造自然与现实并“遣送”人的方式去解蔽，终成为危险的遮蔽。按媒介存在论，艺术作品即媒介存在者；艺术本身即艺术作品的媒介化存在方式。作品（去）存在即媒介化地建立世界并制造大地，进而诱发出“亲密的争执”，展现存在的“显-隐”运作，真理发生，艺术存在本质得以实现。如此，“存在即媒介”就具体化为了“艺术即媒介”，此即媒介存在论的诗学效应。

关键词:

媒介存在论, 媒介存在, 存在即媒介, 艺术即媒介

Abstract:

Media ontology is the theory that explains being from the perspective of media. The media in the form of material substance is the media being; and the “media being” is the way of “coming forth to be”, in which media beings present such “non-beings” as intermediating, gathering, revealing, unconcealing/concealing, etc. The Heideggerian ontology is in essence media ontology, which reaches the truth of existence through a certain media being; that is, “media-being” is its basic mode of thinking. The core of Heidegger’s theory can be summarized as “being is media.” In other words, the world of being comes forth simply in the form of mediatization. The existential construction of Dasein is also the mediated operation of Dasein, which yields the “ready-to-hand” equipment and promotes the interconnection of all things or the mediatization of the world. The language medium names and reveals all things through Dasein’s “speaking” or “saying” by itself, so that things, human beings and the world all return to the self, and being appears. The thing media that is free from the control of language “gathers” the heaven, the earth, gods and human beings, “thing things”, “world worlds”, summoning being itself as the “intimate difference.” This technology, which is originally the poetic unconcealment, enters the modern era as a “framework” and comes forth to unconceal via challenging, setting up, gathering, and ordering nature and reality as well as “dispensing” people. Eventually, it becomes the dangerous concealment. According to media ontology, artworks are media beings; that is, art itself is the mediatized existence of artworks. The (coming forth to) being of artworks means constructing a world and the earth in a mediatizing way to further induce “intimate conflict,” showing the explicit-implicit operation of being. Art’s essence of being is then realized when truth is unconcealed. In this way, “being is media” is embodied as “art is media.” This is precisely the poetic effect of media ontology.

Key words:

media ontology, media being, being is media, art is media