摘要
海德格尔始于《艺术作品的本源》等文本的艺术之思,实乃对艺术存在与人的本质关联难题之思,而这又是通过对艺术家在艺术活动中的地位与作用的重新清理来实施的。他强调艺术家在艺术创造活动中的“通道”作用及其虚怀以待的创作态度、隐身而退的出场方式以及接受和汲取的出场特征。海德格尔的这种艺术创造观在其后期逐渐发展为真理发生存在论意义上的人的诗意生存思想。此思想与马克思的感性实践存在论思想,在诸多方面构成了相异又互补、对立又统一的深层对话关系。
Hedgel＇ s artistic consideration started from the text of Origin of Artistic Works, which was actually a consideration concerning the correlation between artistic existence and human nature. This correlation was realized by re-sorting out the artist＇s status and part in artistic activity. He emphasized the artist＇s part as the ＂channel＂ in activity of artistic creation, his open-minded attitude, withdrawing way of appearing on the stage, and accepting and absorbing manner of coming to the scene. Hedgel＇s view of artistic creation gradually developed into a poetic view of survival in terms of truth-emerging existentialism in his late days. This idea of Hedgel＇s differs from and mutually supplements in many ways with Marx＇s perceptual practice existentialism in a deep sense.
出处
《陕西师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2006年第6期45-50,共6页
Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)
