论文摘要
解释学（Hermeneutik），国内亦译作“诠释学”、“阐释学”，本是一门研究理解和解释的学科，其最初的动因是为了正确解释《圣经》中上帝的语言。传统的解释学研究多是在方法论和认识论的范围之内。伽达默尔创立了哲学解释学，使得解释学的性质发生了根本变化，西方哲学和美学受到它很大影响，而且这种影响迅速波及几乎所有人文科学领域。解释学不再仅仅是一种方法论，而是人的世界经验的组成部分。在伽达默尔的哲学思想里，美学是现代哲学解释学的一部分，哲学解释学揭示了文本理解和解释的本体论和存在论意义，将“历史”和“时间”引入哲学思考，同时为美学研究的读者立场和历史态度奠定了基础。伽达默尔将美学看作哲学解释学的一部分，首先在于他是一个对艺术尤其是对古典文化有着良好教养和浓厚兴趣的哲学家，伽达默尔展开其哲学解释学时总是不自觉地渗透到美学的层面上去，以其独特的解释学视野透视美学，凸现出很多传统美学研究所忽略或不能深及到的问题。传统美学因受认识论真理观的制约而偏离了艺术思考的方向。但是，认识论真理观断定艺术并不能提供命题真理，顶多只能作为一种准陈述的方式攀附于真理；解释学美学对艺术与真理的认识同传统看法恰恰相反，伽达默尔认为，艺术理解活动中却蕴含着最为直接了然的解释学真理。但是寻求解释学真理的途径，需要放弃艺术和科学真理的关联，将艺术与存在的真理联系起来，才能真正领悟到艺术的真谛。
不研究伽达默尔的美学思想，便不可能理解哲学解释学的特质和核心。伽达默尔的美学思想既是其哲学解释学思想的出发点，又是哲学解释学思想在审美领域的理论结晶。这样一种美学与哲学的紧密关系，
安神的食物使伽达默尔在解释学的问题视域中提出了一系列有独到见解的美学问题，如重提艺术真理问题，审美理解的存在方式问题，语言在审美活动中的作用问题等，形成了逻辑上非常统一的认识，从而在20 世纪流派纷呈的美学研究中建立起了独树一帜的解释学美学。
瓷砖十大排行榜
伽达默尔在对康德主体性美学的批判和对黑格尔艺术真理观的继承的基础上，创立了自己的解释学美学。伽达默尔的美学思想主要集中体现在以下三个方面。一、伽达默尔认为艺术作品的存在类似于游戏；二、通过对方法论解释学的批判，伽达默尔探讨了艺术作品理解的历史性；三、伽达默尔考察了艺术发生的人类学基础。
当艺术开始转向日益商业化的文化时，是否会因此丧失了它批判的潜质和揭示真理的功能？在这种背景下，为艺术寻找新的哲学理论基点是理所当然的。伽达默尔的解释学美学在后现代主义语境里，有着怎么样的遭遇，这也是本文所关注的问题之一。
关键词：伽达默尔；解释学；美学；
Abstract
Hermeneutics (Hermeneutik), domestic also translated as "hermeneutics", "Hermeneutics," this is an understanding and interpretation of the study subjects, its initial move to the correct interpretation
becau it is the "Bible" in the language of God. The traditional interpretation of many studies in the methodology and the scope of the epistemology. Gadamer's philosophical hermeneutics created, making interpretation of the nature of a fundamental change in Western philosophy and aesthetics greatly affected by it, but that the impact quickly spread to almost all areas of science and the humanities. Hermeneutics is no longer just a methodology, but people in the world experience component. Gadamer in philosophy, aesthetics of modern philosophy is a part of philosophical hermeneutics reveals the understanding and interpretation of the text of ontology and the prence of significance, "history" and "time" the introduction of philosophical reflection, at the same time Aesthetics readers stance and attitude laid the foundation for history. Gadamer Aesthetics will be en as part of philosophical hermeneutics, first of all, is that he is one of the art of classical culture in particular have a good education and a keen interest in philosophers, Gadamer school to start his philosophy is not always consciously infiltration boost to the level of aesthetic, with its own unique perspective view of the interpretation of aesthetics, highlighted many traditional aesthetics Institute deep and can not be neglected or the problems. Epistemology Truth traditional aesthetic constraints due to deviate from the direction of the art thinking. However, epistemology Truth concluded that the arts can not provide proposition truth, and only the most prospective statements as a way to attach himlf to the truth; Hermeneutics of art and aesthetic understanding of the truth
with traditional views on the contrary, Hans-Georg Gadamer, art understand it contains activities in the most direct glance interpretation of the truth. However, eking an interpretation of the truth means to give up their art and the related scientific truth, there will be art and linked to the truth, can we truly understand the esnce of the art.
Gadamer does not study the aesthetic ideology, it will not be possible to understand the nature of philosophical hermeneutics and the core. Gadamer's aesthetic philosophy to explain their thinking is the starting point of thinking, is philosophical hermeneutics thinking in the field of aesthetic theory crystallization. Such a philosophy and aesthetics of the clo relationship that Gadamer problems in the interpretation of the Perspective by a ries of insights
敬畏之心什么意思
aesthetic issues, such as重提artistic truth, the existence
of aesthetic understanding, in the language Aesthetic activities, such as the question of the role, and formed a unified logical very understanding, which in the 20th century aesthetic schools and intricate study established a unique interpretation of aesthetics.
Gadamer on the aesthetics of Kant's main criticism of Hegel and the Truth art on the basis of inheritance, and founded its own interpretation of aesthetics. Gadamer's aesthetic ideology mainly e
心经全文书法mbodied in the following three aspects. First, Gadamer think that the existence of works of art similar to the game; Second, the methodology adopted by the critical hermeneutics, Gadamer on the understanding of the historic works of art; three, Gadamer studied art in human Foundation. When the art has begun to shift to the growing commercialization of culture, it will lo its critical potential and reveal the truth? In this context, for the arts to find a new philosophy basis for granted. Gadamer's hermeneutics in the post-modernist aesthetic context, how has kind of experiences, and this paper is one of the issues of concern.
Keywords: Gadamer; Explanation; Aesthetics;古代女子
目录
引言 (1)
第一章解释学与哲学解释学 (5)
第一节解释学历史的简要回顾 (5)
第二节伽达默尔的哲学解释学 (8)
第二章伽达默尔的解释学美学 (10)
第一节美学问题的提出与美学思想 (11)完整的爱
第二节对康德主体性美学的批判和对黑格尔艺术真理观的继承 16 第三节美学和解释学 (19)
第三章后现代主义背景下的解释学美学和当代美学思潮 (23)
第一节后现代主义与后现代性 (24)
第二节伽达默尔解释学美学和当代美学思潮 (26)
结语 (31)
参考文献 (33)
致谢 (36)
攻读学位期间发表的学术论文目录 (37)
引言
从尼采开始，美学被当成了人生哲学的本体论问题。他主张以美学解决人生的根本问题，提倡一种审
美的人生态度。克尔凯郭尔在探讨婚姻时也说，婚姻是生活的美学（《或此或彼》）。美学不只为艺术提供最根本的观点和创作原则，更重要的，是要将整个生活变成为美的生活，以艺术创作和鉴赏活动提高和纯化人的生命。只有美化生活和生命，人生才有真正的意义。追求美和审美活动简直就成了人生的目的本身。在某个意义上说，追求美和审美活动，也是追求自由的活动。尼采说：“没有什么是美的，只有人是美的：在最简单的真理上建立了全部美学。它是美学的第一原理。我们立刻补上美学的第二原理：没有什么比衰退的人更丑了。”（《偶像的黄昏》，第二十节）当处身于我们这个纷繁缭绕时代，每一位有着敏锐嗅觉的人都能深切体会到这个社会深重的危机和忧患。秉承进化论思维的人，往往成了衰退的人，真不能不说是一个悖论。
沿着尼采开辟的道路，在批判继承传统解释学的基础上建立的新解释学美学，不但改变了人文社会科学的基本方法和性质，而且也改变了整个知识领域的基本概念，对于进一步推动各学科的革命和整个文化领域的变革具有决定性的意义。伽达默尔《真理与方法》的发表，就是新解释学（哲学诠释学）的理论基石。其贡献主要在于：一、明确地把“解释”（诠释）当成人生在世和艺术创作的基本形式；二、强调语言的历史性和存在性质；三、讲艺术创作的经验提升到人生经验的首位；四、以“游戏”作为中心概念，建立了哲学解释学体系，也创造了后现代美学理论的基础。
伽达默尔的哲学是一个相当庞大的哲学体系，他的《真理与方法》一书，虽然名其为真理和方法，但书中并没有直接谈到真理和方法，更多谈到的却是艺术，即艺术作为显现真理手段或理解如何可能成一片丹心图报国
桃花眼的男人了全书的重点。“艺术是真理的生成和发生。”[1]这一原理在伽达默尔的哲学思想中得到彻底的体现。伽达默尔将美学看作哲学解释学的一部分，认为艺术揭示我们的存在，艺术和美是一种基本
