نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری فلسفه هنر. گروه فلسفه هنر. دانشکده هنر و معماری. دانشگاه بوعلی سینا. همدان. ایران
2 دانشیار فلسفه هنر. گروه فلسفه هنر. دانشکده هنر و معماری. دانشگاه بوعلی سینا. همدان. ایران
3 استادیار گروه فلسفه هنر. فلسفه هنر. دانشکده هنر و معماری. دانشگاه بوعلی سینا. همدان. ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Hans-Georg Gadamer explains the audience encounter with a work of art within the framework of Dasein's projection into the play of the work. This play has an existential dimension, and the meaning of the audience presence lies in establishing a relationship with the world of the work, the ground which is rooted in historical-cultural projection. The present study aims to elucidate the audience encounter with the artwork in terms of its role in determining the meaning of truth. According to the research findings, from Gadamer's perspective, the opening of the artwork to the audience is realized only through its realization (Vollzug) and the presence of the audience. Thus, the audience—as a thrown-projecting being—is both affected by the play of the work and affects it in return. On the other hand, Mikel Dufrenne argues that the transformation of the artwork into an aesthetic object entirely depends on the audience dwelling within the work and participating in it when the work calls upon them. While much has been said about the concept of play, the precise role of the the engaged participant has been a fundamental concern for both thinkers. This raises the question: How does the event of encountering the artwork lead to the alethea of truth?Dufrenne describes a relationship based on exchange, whereas Gadamer speaks of a dialectical interplay of simultaneous and co-constitutive fusion of horizons. For Dufrenne, presentation and interpretation remain distinct, whereas for Gadamer, they fuse into one another.
کلیدواژهها [English]
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