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Please use this identifier to cite or link to this item:
https://nccur.lib.nccu.edu.tw/handle/140.119/113113
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| Title: | 技藝、生活世界與藝術 |
| Authors: | 汪文聖 |
| Contributors: | 哲學系 |
| Keywords: | 技藝;生活世界;藝術;胡塞爾;亞里士多德;現象學
technique;life-world;art;Husserl;Aristotle;Phenomenology |
| Date: | 2017-05 |
| Issue Date: | 2017-09-22 14:48:46 (UTC+8) |
| Abstract: | 胡塞爾現象學有三層技藝概念,最高為哲學的層次。因重視技藝概念,其哲學深具藝術性的內涵,雖然這點不為胡塞爾本人所強調。藉助亞里士多德的倫理學與形而上學,可解讀出德性為一種技藝,以及技藝扮演著從人為到自發再到自然生成的角色。前者引發出胡塞爾的純粹或形式倫理學,以及哲學是一種高層次的技藝;后者發展出藝術作為合自然目的理念。生活世界兩層科學性與技藝三層次間的對照關系,更能顯示技藝的哲學性一面,而胡塞爾《觀念二》里蘊含的深意——現象學方法作為一種技藝,企圖讓實事本身在自然態度中顯現——則可引導出胡塞爾哲學理論的藝術性義涵。
In Husserls phenomenology, there are three levels of the notion Téchne, and philosophy is at the superior level. His emphasis on this notion leads to the artistic nature of his philosophy, even though he does not explicitly mean that himself. Following Aristotelian tradition of ethic and metaphysics, virtue could be interpreted as technique, and that technique goes from the realm of artificial production through that of spontaneity to natural genesis. The first idea provokes Husserl s pure or formal ethic; in another word, philosophy is a high-level technique. From the latter develops an art as idea conforming to the End of Nature. The contrast between the binary scientific nature of the life world and triple artistry of technique manifests the philosophical aspect of technique, and hence what Idea II of Husserl implies—the method of phenomenology as a technique tends to present the fact in natural attitude—could guide us to understand the artistic nature of his philosophy. |
| Relation: | 四川大學學報 (哲學社會科學版), No.2017年第3期, pp.52-59 |
| Data Type: | article |
| Appears in Collections: | [哲學系] 期刊論文
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