高達美論藝術與模仿

Gadamer on Art and Imitation

簡妤安(Yu-An Chien)

指導教授 ： 楊植勝

國立臺灣大學/文學院/哲學研究所/碩士(2017年)

https://doi.org/10.6342/NTU201703368

摘要

這篇論文跟隨高達美1967年〈藝術與模仿〉的思路，回顧古典美學史的發展，討論當代藝術不可理解的問題，並藉以釐清藝術與真理的關係。高達美以模仿論作為解釋藝術的恰當模型，為梳理模仿的概念，他提出三個哲學家：康德、亞里斯多德、畢達哥拉斯，以對藝術經驗提供更強的解釋力，並擴及人類存有與理解活動的真相。

關鍵字

高達美 ； 藝術 ； 模仿 ； 理解 ； 真理

並列摘要

Following Gadamer’s “Art and in Imitation” in 1967, this thesis looks through the historical development of classical aesthetics, to see why art works nowadays are mostly not to be understood, as well as to clarify how art and truth are bound.
Gadamer takes the theory of imitation as a proper model to describe art. To explain the concept of imitation, he mentions Kant, Aristotle, and Pythagoras. His approach not only demonstrates art experience more broadly, but also touches the ultimate inquiry of human existence and understanding.

並列關鍵字

Gadamer ； Art, Imitation ； Understanding ； Truth

參考文獻

Grondin, Jean. Introduction to Philosophical Hermeneutics. New Haven: Yale University Press. 1994.

張鼎國，〈文本與詮釋：論高達美如何理解康德《判斷力批判》〉，《中央大學人文學報》：34期 （2008.4），頁63-95。

Gadamer, Hans Georg. The Beginning of Knowledge. (Trans.) Rod Coltman. New York: Continuum. 2001.

--- Dialogue and Dialectic. (Ed.) P. Christopher Smith. New Haven and London: Yale University Press. 1980.

--- (Trans.) Walker, Nicholas. “Art and Imitation”. in The Relevance of the Beautiful and Other Essays. (Ed.) Robert Bernasconi. Cambridge: Cambridge University Press, 1987.