用具、作品與面容——海德格爾與列維納斯論藝術作品的本源

對物的討論無疑是20世紀歐陸哲學中的一個核心問題。海德格爾在其中則處在一個十分重要的位置。本文試圖以海德格爾前後期哲學中對於用具和藝術作品的研究為對照，來檢討列維納斯在相應問題上的論述。文章認為，在對用具的「合目的性—有用性」，藝術作品的「無目的性—無用性」以及對形式—質料模式的批判等問題上，列維納斯與海德格爾有十分相近的觀點。然而，在藝術作品的具身性基礎這一關鍵點上，列維納斯顛覆了海德格爾中性化的總體性結構，打開了一個差異化的圖景。這也體現了列維納斯獨特的藝術觀念，並對其後的哲學思想產生了深遠的影響。

關鍵字

用具；藝術作品；面容；中性之物；差異

並列摘要

The discussion of the "Thing" is undoubtedly a central issue in 20th century continental philosophy. Heidegger is in a very important position in it. This article attempts to review Levinas's discussion of the corresponding issue in contrast to the study of utensils and works of art in Heidegger's earlier and later philosophy. It is argued that Levinas and Heidegger share very similar views on the "purposiveness-usefulness" of the utensil, the "purposelessness-uselessness" of the work of art, and the critique of the form-material model. However, on the key point of the embodied basis of the work of art, Levinas overturns Heidegger's generalized structure of neutrality and opens up a differentiated picture of the world. This also reflects Levinas's unique conception of art and has a profound influence on subsequent philosophical thought.