本文選題：游戲　切入點(diǎn)：解釋　出處：《華中師范大學(xué)》2008年碩士論文

【摘要】： 通過(guò)游戲論述藝術(shù),自康德以來(lái),是西方藝術(shù)理論的一個(gè)重要的視角。伽達(dá)默爾的關(guān)于游戲與藝術(shù)的看法在西方歷史上具有轉(zhuǎn)折性的意義。本文以伽達(dá)默爾的游戲觀點(diǎn)為切入點(diǎn),梳理和分析伽達(dá)默爾關(guān)于藝術(shù)的基本理論。 本文分三章:第一章,本章主要論述伽達(dá)默爾本體論的游戲觀。首先,本章論述了伽達(dá)默爾之前的主觀論的游戲觀,通過(guò)對(duì)康德、席勒、胡伊青加的游戲觀進(jìn)行論述,發(fā)現(xiàn)主觀論背景下的游戲觀認(rèn)為游戲的主體是游戲者,游戲者決定著游戲的意義。接著本章論述了伽達(dá)默爾的本體論游戲觀。本體論游戲觀的與過(guò)去主觀論游戲觀最大的不同在于,伽達(dá)默爾認(rèn)為游戲的主體不是游戲者而是游戲本身。這也就是意味著決定游戲意義的不是再是游戲者,而是游戲本身。游戲的存在就是為了表現(xiàn)自身。表現(xiàn)意味著存在觀者,觀者在這里不是主觀論游戲中的被動(dòng)的觀賞者,而是參與了游戲意義的形成,使游戲具有了開(kāi)放性。游戲的時(shí)間特征也證明了游戲的這種開(kāi)放性。 第二章,本章主要論述伽達(dá)默爾“游戲是藝術(shù)的存在方式”的藝術(shù)觀。首先本章論述了從游戲向藝術(shù)的構(gòu)成物的轉(zhuǎn)化。構(gòu)成物意味者藝術(shù)作品的意義是在形成之中的,是開(kāi)放的。轉(zhuǎn)化意味著藝術(shù)作品發(fā)生了質(zhì)的飛躍,藝術(shù)作品與藝術(shù)家的主觀性相脫離。向構(gòu)成物的轉(zhuǎn)化也就是一個(gè)藝術(shù)作品脫離主觀性,展現(xiàn)自身真理性的過(guò)程。其次,因?yàn)樗囆g(shù)作品的存在方式與游戲相同,都是自我表現(xiàn)。自我表現(xiàn)意味著是對(duì)真理的表現(xiàn),是對(duì)存在擴(kuò)充,再次,本章論述了藝術(shù)作品的同時(shí)性的時(shí)間經(jīng)驗(yàn)。最后,本章論述了欣賞者同在的存在方式。 第三章,伽達(dá)默爾認(rèn)為藝術(shù)的理解是屬于解釋學(xué)的一部分,他對(duì)藝術(shù)的探究是為了構(gòu)建其哲學(xué)解釋學(xué)的大廈。因此本章主要論述藝術(shù)解釋問(wèn)題。首先本章論述了伽達(dá)默爾關(guān)于藝術(shù)真理的看法。因?yàn)檎胬韱?wèn)題是其藝術(shù)解釋的一個(gè)基石。伽達(dá)默爾的真理觀是建立在海德格爾存在論真理觀上的存在論真理與人文真理的結(jié)合。這種真理觀發(fā)展到精神科學(xué)領(lǐng)域,產(chǎn)生了哲學(xué)解釋學(xué)。其次,本章通過(guò)偶緣物與視域融合兩個(gè)概念論述了藝術(shù)與解釋的關(guān)系。偶緣物意味著藝術(shù)作品意義與藝術(shù)作品所處的境遇有關(guān),且是被這種境遇所規(guī)定的。視域融合意味著藝術(shù)作品的視域不是固定的,而是一個(gè)多種視域融合的結(jié)果,是處在變動(dòng)之中的。
[Abstract]:Discussing art through game is an important angle of view of western art theory since Kant.Gadamer's view on game and art has a turning significance in western history.This paper combs and analyzes Gadamer's basic theory of art from Gadamer's point of view of game.This paper is divided into three chapters: the first chapter, this chapter mainly discusses Gadamer's ontology of the game view.First of all, this chapter discusses Gadamer's subjective view of the game before, through the Kant, Schiller, Hu Yitinga's view of the game, found that the subjective background of the game view that the game is the main player.The player determines the meaning of the game.Then this chapter discusses Gadamer's ontology game view.The biggest difference between ontology and subjective view of game lies in Gadamer's view that the main body of the game is not the player but the game itself.This means that it is not the player who determines the meaning of the game, but the game itself.The game exists to express itself.The timing of the game also testifies to the openness of the game.In the second chapter, this chapter mainly discusses Gadamer's artistic view that game is the existence of art.First of all, this chapter discusses the transformation from game to art.The meaning of the artistic works of the constituent signifier is in the process of formation and is open.The transformation means that the works of art have made a qualitative leap, and the works of art are divorced from the subjectivity of the artist.The transformation to composition is also a process that works of art break away from subjectivity and show their own truth.Secondly, because works of art exist in the same way as games, they are self-expression.Self-expression means the expression of truth and the extension of existence. Again, this chapter discusses the simultaneous time experience of art works.Finally, this chapter discusses the existence of the audience.In the third chapter, Gadamer thinks that the understanding of art is a part of hermeneutics, and his exploration of art is to construct the edifice of his philosophical hermeneutics.Therefore, this chapter mainly discusses the artistic interpretation.First of all, this chapter discusses Gadamer's views on artistic truth.Because the question of truth is one of the cornerstones of its artistic interpretation.Gadamer's view of truth is the combination of existential truth and humanistic truth based on Heidegger's ontology.This view of truth developed into the field of spiritual science, resulting in philosophical hermeneutics.Secondly, this chapter discusses the relationship between art and interpretation through the concepts of coupling and horizon fusion.The meaning of the works of art is related to the situation in which the works of art are situated.Visual fusion means that the view of art works is not fixed, but the result of a variety of horizons fusion, is in the process of change.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：J0-02

【引證文獻(xiàn)】

相關(guān)期刊論文 前2條

1 賈冬曉;;游戲與藝術(shù)——伽達(dá)默爾藝術(shù)觀探析[J];金田(勵(lì)志);2012年07期

2 趙慧臣;;伽達(dá)默爾游戲理論對(duì)教育游戲的啟示——兼論游戲與教育如何實(shí)現(xiàn)有效融合[J];現(xiàn)代遠(yuǎn)程教育研究;2013年02期

相關(guān)碩士學(xué)位論文 前1條

1 常婷;民間游戲的傳承與發(fā)展[D];首都體育學(xué)院;2011年

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本文編號(hào)：1696615