高達美論藝術與模仿

Abstract

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。

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.