【摘要】： 海德格爾是二十世紀(jì)最重要的藝術(shù)理論家之一，他在批判了傳統(tǒng)形而上學(xué)美學(xué)的基礎(chǔ)上，發(fā)展出一種存在論詩(shī)學(xué)，在世界范圍內(nèi)產(chǎn)生了極大影響。本文主要討論海德格爾詩(shī)學(xué)的思想來(lái)源、主要內(nèi)容和特征及其與德國(guó)古典美學(xué)的關(guān)系，從而揭示它的本質(zhì)。 本文第一部分概括敘述了海德格爾的基本思想，，并大致區(qū)分了其前期和后期的特征，為海德格爾的詩(shī)學(xué)揭示其思想基礎(chǔ)。 第二部主要討論了海德格爾詩(shī)學(xué)中的幾個(gè)關(guān)鍵問(wèn)題，它們分別是：作品的存在、詩(shī)與真理和貧困時(shí)代的詩(shī)人。這樣就可以綜覽海德格爾詩(shī)學(xué)中的主要內(nèi)容，并可以見(jiàn)出這些內(nèi)容之間的相互關(guān)系。 第三部分在前兩部分的基礎(chǔ)上討論海德格爾對(duì)傳統(tǒng)的形而上學(xué)的美學(xué)的批判，由此而揭示出傳統(tǒng)形而上學(xué)美學(xué)的根源及其本質(zhì)，使其陷入危機(jī)之中。 第四部分接著探討了海德格爾詩(shī)學(xué)的特征，即本體論特征、開(kāi)放性和實(shí)踐性，這顯示了海德格爾的獨(dú)特貢獻(xiàn)。 最后，第五部分專(zhuān)門(mén)探討了海德格爾詩(shī)學(xué)與德國(guó)古典美學(xué)的關(guān)系。文中首先詳細(xì)比較了康德、席勒、荷爾德林與海德格爾在藝術(shù)觀上的一些共同之處，然后又集中論述了黑格爾的“藝術(shù)終結(jié)”論，以及海德格爾對(duì)這個(gè)論斷的解釋。通過(guò)分析，我們發(fā)現(xiàn)海德格爾詩(shī)學(xué)是在繼承德國(guó)古典美學(xué)的基礎(chǔ)上發(fā)展起來(lái)的，并對(duì)后者作了精辟的解釋、總結(jié)和發(fā)展。
[Abstract]:Heidegger is one of the most important art theorists in the 20th century. On the basis of criticizing the traditional metaphysical aesthetics, Heidegger has developed a kind of existential poetics, which has had a great influence in the world. This paper mainly discusses the ideological source, main contents and characteristics of Heidegger's poetics and its relationship with German classical aesthetics, thus revealing its essence. The first part of this paper summarizes Heidegger's basic thoughts, and roughly distinguishes the characteristics of his earlier and later periods, and reveals his ideological basis for Heidegger's poetics. The second part mainly discusses several key issues in Heidegger's poetics, which are: the existence of works, poetry and truth, and poets in the age of poverty. In this way, the main contents of Heidegger's poetics can be summarized, and the relationship between them can be seen. The third part discusses Heidegger's criticism of the traditional metaphysical aesthetics on the basis of the first two parts, thus revealing the origin and essence of the traditional metaphysical aesthetics and putting it into crisis. The fourth part discusses the characteristics of Heidegger's poetics, namely ontology, openness and practicality, which shows Heidegger's unique contribution. Finally, the fifth part discusses the relationship between Heidegger's poetics and German classical aesthetics. This paper first makes a detailed comparison between Kant, Schiller, Holdrin and Heidegger in their views of art, and then focuses on Hegel's theory of "the end of Art" and Heidegger's explanation of this conclusion. Through the analysis, we find that Heidegger's poetics develops on the basis of inheriting the classical aesthetics of Germany, and makes a penetrating explanation, summary and development of the latter.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2002
【分類(lèi)號(hào)】：I01

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 李俊偉;西方文論中詩(shī)與真理關(guān)系理論的歷史變遷[D];延安大學(xué);2010年

2 張宏宇;海德格爾傾聽(tīng)的詩(shī)學(xué)思想[D];黑龍江大學(xué);2012年

本文編號(hào)：2445928