馬賽爾的劇本《破碎的世界》－一個存在性的詮釋

馬賽爾是本世紀與海德格、雅士培、沙特齊名的存在哲學大師。其作品分哲理和劇本兩類，極富原創性，執當代詮釋學牛耳的呂格爾教授(Paul Ricoeur)曾自稱師承馬賽爾及胡塞爾，然因兩師之出發點及強調之不同，致使兩者有迥異之發展。馬氏重視臨在和主體際性。胡氏用存而不論法追索意義，最後走入獨我主義的死胡同。然胡塞爾之方法對詮釋學實有啟示，此尤在其徒海德格之著作上可見一斑。馬賽爾亦被史家譽為現象學家，因在探討人生現象上有巨大貢獻。本文除檢視馬氏與現象學關係外，尚選其名劇「破碎世界」加以詮釋，為凸顯馬氏存在論的特色，藉之使讀者了解詮釋學的應用法及現象學的多元性。

關鍵字

存在哲學；現象學；詮釋學；互為主體性；臨在；聖者

並列摘要

Heidegger, Jaspers, Sartre and Marcel were four masters of the existentialist movement in the last century. Gabriel Marcel (1889-1973) published many philosophical treatises and about 30 dramas. His disciple Paul Ricoeur, now a worldwide leader of exegesis, considered himself indebted to Husserl and Marcel. From Husserl, Ricoeur says he learnt the method of ”Epoche” and eidetic intuition, while from Marcel, he learnt the importance of ”presence” in concrete, existential encounters. Ricoeur points out that a difference between Husserl and Marcel was inevitable, because they had very different approaches and positions. Husserl's concern with the transcendental ego impeded him from meeting the real 'other' and led to solipsism. Marcel's emphasis on presence and intersubjectivity enabled him to meet the real other. Historians such as H. Spiegelberg and Jean Hering believe that even if no-one from France had gone to Germany to learn Husserlian phemenology, Marcel would have initiated it in France. It is worthwhile learning from Marcel how to interpret phenomena. This article uses his play ”The Broken World” to exemplify his method