高達美的藝術哲學及教育旨趣

Gadamer’s Philosophy of Art and Educational Tenets

在充斥現代科技與大眾傳媒的世界，人類文明乃至生存狀態均遭嚴重異化，極能表彰精神發展之藝術作品也遺忘了初衷，淪為供人品評享樂的客體；究其肇始，則可溯自康德、席勒以來之美學主體化和美感意識。為重啟藝術開顯真理之能，高達美一方面蹈襲了海德格存在之思、兼及黑格爾辯證心法，另一方面乃改寫柏拉圖、亞里斯多德之模仿說和回憶說，賦予藝術及教育活動以新詮。對高達美而言，藝術作品宛如獨樹一幟的文本，只有潛心學習解讀和傾聽，才會開始訴說幽微之語；意義的生發亟需人之融入，非恃純粹靜觀所能遂致。就在對話遊戲中，先前隱匿的事物可能突然乍現，令人於驚奇之際更加認識所在世界，此一真摯的藝術經驗，誠乃高達美詮釋學之苦心孤詣。

"With the prevalence of highly-developed technology and mass media, human culture or existential condition is severely under threat in this modern world. Once the very representative of human spirit, the work of art now deviates from its origin and serves only as a kind of evaluable or enjoyable object. This outcome may trace back to the subjectivization of aesthetics and aesthetic consciousness emphasized by Kant and Schiller. With a view to rehabilitate the truth-revealing power of art, Gadamer not only inherits Heidegger’s thought of being and Hegel’s dialectics but recasts Plato’s and Aristotle’s imitation as well as recognition theories for bestowing significance on art and education anew. According to Gadamer, the work of art is just like any extraordinary text; it only begins to speak after one has strenuously learned how to listen carefully. Therefore, the occurring of meanings requires human beings’ constructive participation. By no means can it rely on pure contemplation only. In the play of dialogue, the previously-hidden things may reveal themselves all of a sudden, making someone recognize this living world much better by surprise. Such an authentic experience of art is the core of Gadamer’s philosophical hermeneutics."