摘要
艺术品的阐释需求源于其本质上是直观与概念互相中介的产物,无概念的鉴赏判断只有通过概念才得以表征。艺术的真理性内容需要经过哲学的调解才能被主体认知,因而阿多诺主张将艺术阐释上升到哲学形态。艺术阐释的对象是欺骗性和真理性所编织的“真理性的谜语”,而艺术品的谜语特质导致了艺术阐释的多样性、复杂性和矛盾性,不存在完全把握客体的终极阐释。艺术阐释的方法论要求遵循社会历史化和客体优先的阐释原则,一方面要认识到阐释在主体和语境上的有限性,避免强制阐释和直观阐释;另一方面要拓展阐释的媒介和路径,以模仿式阐释和跨媒介阐释建构主客体之间感性体验的交往模式,为阐释学提供新的方法论。
Artworks’demand for interpretation stems from the fact that they are essentially the product of mutual intermediary between intuition and concept.Judgment of taste without concept can only be represented through concept,but the task of interpretation is not to pile up concepts,but to construct constellation,which is presented in the form of ideas.The object of artistic interpretation is the“riddle of truth”woven by illusion and expression,while the riddle characteristics of artworks lead to the diversity,complexity and contradiction of artistic interpretation.There is no ultimate interpretation that can fully grasp the object.The methodology of artistic interpretation requires interpreters to follow the interpretation principle of social historicization and object priority.On the one hand,they should recognize the limitation of interpretation in the subject and context and avoid forced interpretation and intuitive interpretation.On the other hand,we should expand the medium and path of interpretation,construct the communication mode of perceptual experience between subject and object by mimesis interpretation and cross-media interpretation,and provide a new methodology for hermeneutics.
出处
《海峡人文学刊》
2023年第3期40-48,157,共10页
Journal of Humanities Across the Straits
基金
国家社科基金重大项目“东欧马克思主义美学文献整理与研究”(15ZDB022)。
作者简介
周静,四川大学文学与新闻学院硕士研究生,主要研究方向:马克思主义美学。
