阐释学视域下黑格尔“艺术终结论”的再审视
Re-examination of Hegel’s “The End of Art” in the Perspective of Hermeneutics
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摘要: “艺术终结论”向来是国内学界的关注热点，但多数研究者都将“艺术终结论”视作黑格尔首先提出的命题。那么，在对特定文本阐释时探寻作者本意是否有一定的合法性？本体论阐释学的两位代表人物海德格尔、伽达默尔分别以“伟大艺术终结”论和“艺术的过去特征”论来概括黑格尔美学的相关言论和思想。通过对读和细析黑格尔的文本与海德格尔、伽达默尔对黑格尔的阐释可见，黑格尔本人并未提出过“艺术终结论”的命题。而海德格尔和伽达默尔对黑格尔的概括和论述虽然都依托于本体论阐释学的框架，创造性地发挥着自己的见解，有意无意地偏离了黑格尔的本意；但在具体分析时则往往试图贴合黑格尔论述的原意。这一特殊的阐释学现象意味着，方法论阐释学寻找作者原意的主张并没有完全过时，在特定条件下能与本体论阐释学形成互补。
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关键词:
- 黑格尔 /
- 艺术终结论 /
- 方法论阐释学 /
- 本体论阐释学 /
- 海德格尔“伟大艺术终结” /
- 伽达默尔“艺术的过去特征”
Abstract: “The end of art” has always been the focus of academic circles, but most researchers agree that Hegel first proposed the thesis. Based on the perspective of hermeneutics, the paper explores whether the author’s original meaning has a certain legitimacy when interpreting a particular text. Heidegger and Gadamer, two representative figures of ontological hermeneutics, respectively sum up Hegel’s aesthetics with the thesis of “great art comes to an end” and “the past character of art”. The Paper compares Hegel’s text with Heidegger and Gadamer’s interpretation of Hegel, and analyses in detail, finds that Hegel himself has not put forward the thesis of “the end of art”. Although Heidegger and Gadamer’s interpretation of Hegel rely on the framework of ontological hermeneutics and creatively explain their understanding, they try to fit the original meaning of Hegel’s textin concrete analysis. This particular hermeneutic phenomenon means that the claim of methodological hermeneutics to seek the author’s original meaning is not entirely obsolete, it can complement ontological hermeneutics under certain conditions. -
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