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首頁(yè)> 外文學(xué)位 >The Statue that Houses the Temple: A Phenomenological Investigation of Western Embodiment Towards the Making of Heidegger's Missing Connection with the Greeks.
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The Statue that Houses the Temple: A Phenomenological Investigation of Western Embodiment Towards the Making of Heidegger's Missing Connection with the Greeks.

機(jī)譯：安置圣殿的雕像：對(duì)海德格爾與希臘人之間的缺失聯(lián)系的西方體現(xiàn)的現(xiàn)象學(xué)調(diào)查。

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摘要

Much of the criticism Heidegger has drawn from realism, from postmodernism and even existentialism, as well from the anti-Nazi protests on his philosophy, could be diluted if a defaulted connection was made between Heidegger's metaphysics and the Greeks. Being and Time drafted the blueprint of the origin of predication and world-disclosure from the primordial intuition of the limitations of action in the face of human finitude. This existential reprioritization forced a radical reversal of primacy from nature to culture, having assumed the absolute objectivity of some original world determinacy, the phenomenological structure of which, nevertheless, was never produced in Heidegger's seminal work or thereafter.;Existentialism has thus been downplayed as a counterintuitive, fanciful hypothesis, and will remain so for as long as horizontal temporality has not made itself available to itself as a negated object of perception in the horizon of disclosure. The objectified subjectivity of Dasein's cultural bias should be demonstrable, if there is indeed a determinant even firmer and "causally prior" to the object of perception in reified nature. And the theory of freedom that is existentialism will remain a "theory" with a private definition of the term, if both the phenomenological structures of the "objectification" of subjectivity have not appeared: first as the objectivity of freedom that is absolute and universal, but no less than as the object that frees made up from nothing other than the absolute and universal objectivity of freedom.;Heidegger must have felt this most pressing shortcoming in his metaphysics, because in a later monumental work, The Origin of the Work of Art , he avowed of such an object that is both the programmatic manifesto of freedom, and frees, pointing to the Greek Doric temple. He must have realized that the highest objectification of Dasein's volatile subjectivity was somehow of "Greek" origin, and in this assumption alone he was right. But his proof was premised therein in an incomplete, trivial and self-contradictory way that left exposed to counter-entrenchment his arguments over both the attribution of the origin of reality, and consequently also its subjective constitution. From this point on, existentialism has remained doggedly problematic, if not inconsequential, in being unconnected to its bloodline, that is, phenomenology, and inasmuch as Heidegger's incomplete metaphysics has remained unconnected to his miscued art theory.;My hermeneutic method seeks this elusive, twofold objectification of subjectivity, in order to justify existentialism by simultaneously making the missing connections between Heidegger and the Greeks, and between Being and Time and The Origin of the Work of Art. The connections I am suggesting are both necessary and possible, provided that Heidegger's theory of art is modified to grant monumental statuary its due hermeneutic primacy.;Heidegger attributed the disclosure of world in truth-as-untruth to poetry and architecture, while Gadamer, who advanced Heidegger's phenomenology to the currently predominant hermeneutic theory, also gave primacy to poetry and architecture. Their mistake is critical, because, as I will argue, Greek statuary is the patent twofold objectification of Dasein's existential analytic, it is the convergence point of evidence to infer Heidegger's missing theory of embodiment, and it is the ultimate origin of Western metaphysics.;Current theories of embodiment, including Merleau-Ponty's phenomenological case from where a missing dialogue has been attempted to derive Heidegger's theory of embodiment, typically confine themselves to Dasein's ontological and ontic corporeality. I suggest that such theories should have addressed the necessity of the structures of Reason to incarnate themselves as the fundamental ontological prescriptions of perception. To address the necessity of this incarnation in monumental art as a primordial world disclosure, is to explore in this work a previously untapped tripartite hermeneutic conjecture, where theory of art and theory of embodiment are already theories of perception.;My hermeneutic hypothesis adheres to, corroborates and advances basic phenomenological principles, to show how Dasein's embodied structures in the exclusivity of Greek statuary have been misunderstood, decontextualized, and begged the question, accordingly as a "mystery" (Hegel), as "godly" (von Humboldt), as a "misunderstanding" (Buschor), or as "Greek naturalism" (art historians).;Special attention will be paid to works such as the Laokoon Group, the Ptoan Apollo, the Blond Youth , the Zeus of Artemision and the Gigantomachy .;The most consequential thrust of this work seeks to revitalize Heidegger's claim regarding the origin and the chronology of world against competing alternatives such as Christian metaphysics, science's Big Bang Theory, or the emasculated feminist case regarding the metaphysical primacy of the womb. The ultimate contribution this work aspires to, is the empowering of a presently stalled paradigm shift from the scientific to an existential-phenomenological world view. (Abstract shortened by UMI.).
機(jī)譯：如果在海德格爾的形而上學(xué)和希臘人之間建立默認(rèn)聯(lián)系，海德格爾的許多批評(píng)都來(lái)自現(xiàn)實(shí)主義，后現(xiàn)代主義甚至是存在主義，甚至來(lái)自反對(duì)納粹對(duì)其哲學(xué)的抗議。 《存在與時(shí)間》從面對(duì)人類有限性的行動(dòng)局限性的原始直覺起草了謂詞和世界公開起源的藍(lán)圖。存在主義的優(yōu)先化迫使假定的某些原始世界決定論具有絕對(duì)客觀性，而這種主導(dǎo)論從自然到文化的徹底顛覆，盡管這種決定論的現(xiàn)象學(xué)概念在海德格爾的開創(chuàng)性著作或以后的著作中從未產(chǎn)生過(guò);存在主義因此被低估為一個(gè)反直覺的，虛構(gòu)的假設(shè)，并且將一直存在，只要水平的時(shí)間性尚未使自身成為公開范圍內(nèi)被否定的感知對(duì)象即可。如果確實(shí)存在在實(shí)體化性質(zhì)的感知對(duì)象上甚至更堅(jiān)定和“因果而先”的決定因素，那么本世文化偏見的客觀主觀性應(yīng)該是可證明的。如果沒有出現(xiàn)主觀性“客觀化”的兩種現(xiàn)象學(xué)結(jié)構(gòu)，那么存在主義的自由主義理論將仍然是一個(gè)帶有術(shù)語(yǔ)私人定義的“理論”：首先，作為絕對(duì)性和普遍性的自由性客觀性，但至少不亞于自由的絕對(duì)客觀的普遍客觀性，海德格爾一定在他的形而上學(xué)中感受到了這個(gè)最緊迫的缺陷，因?yàn)樵诤髞?lái)的紀(jì)念性著作《藝術(shù)的起源》中，他宣告了這樣一個(gè)對(duì)象，它既是自由的綱領(lǐng)性宣言，又是自由的綱領(lǐng)，指向希臘的多立克式圣殿。他一定已經(jīng)意識(shí)到，該在動(dòng)蕩的主觀性的最高客觀化是某種程度上源于“希臘”的，僅在這種假設(shè)下他就是正確的。但是他的證明是以不完整，瑣碎和自相矛盾的方式為前提的，這使他對(duì)實(shí)在起源的歸屬以及其主觀構(gòu)成的論點(diǎn)難以反抗。從這一點(diǎn)開始，存在主義仍然存在著棘手的問(wèn)題，即使不是無(wú)關(guān)緊要的，也與它的血統(tǒng)（即現(xiàn)象學(xué)）無(wú)關(guān)，并且由于海德格爾的不完整形而上學(xué)與他被誤導(dǎo)的藝術(shù)理論之間沒有任何聯(lián)系。為了同時(shí)通過(guò)使海德格爾與希臘人之間，以及存在與時(shí)間與藝術(shù)作品的起源之間缺少的聯(lián)系來(lái)證明存在主義是對(duì)主體性的雙重客觀化。我建議的聯(lián)系是必要且可能的，只要對(duì)海德格爾的藝術(shù)理論進(jìn)行修改以賦予紀(jì)念雕像以其應(yīng)有的解釋性優(yōu)先地位即可；海德格爾將對(duì)真理的無(wú)真世界的揭示歸因于詩(shī)歌和建筑，而加達(dá)默爾則認(rèn)為海德格爾的現(xiàn)象學(xué)在當(dāng)前占主導(dǎo)地位的詮釋學(xué)理論的基礎(chǔ)上發(fā)展起來(lái)，也使詩(shī)歌和建筑學(xué)成為首要問(wèn)題。他們的錯(cuò)誤是至關(guān)重要的，因?yàn)椋缥覍⒁f(shuō)的那樣，希臘雕像是Dasein存在分析的專利雙重對(duì)象，這是推斷海德格爾缺失的體現(xiàn)理論的證據(jù)的匯合點(diǎn)，并且是西方形而上學(xué)的最終起源。當(dāng)前的體現(xiàn)理論，包括梅洛-龐蒂的現(xiàn)象學(xué)案例，試圖從中缺失對(duì)話以推導(dǎo)海德格爾的體現(xiàn)理論，通常將自己局限于達(dá)斯丁的本體論和本體的本體性。我建議，這些理論應(yīng)該已經(jīng)解決了理性結(jié)構(gòu)化身為感知的基本本體論處方的必要性。為了解決紀(jì)念性藝術(shù)化身作為原始世界披露的必要性，是在這項(xiàng)工作中探索一個(gè)以前尚未開發(fā)的三方解釋學(xué)猜想，其中藝術(shù)理論和體現(xiàn)理論已經(jīng)是感知理論。;我的解釋學(xué)假說(shuō)堅(jiān)持不變，證實(shí)并提出了基本的現(xiàn)象學(xué)原理，以表明達(dá)信在希臘雕像專有性中的體現(xiàn)結(jié)構(gòu)是如何被誤解，去上下文化和乞求的，因此被稱為“神秘”（黑格爾），“上帝”（馮·洪堡）， ；將特別注意諸如Laokoon小組，Ptoan Apollo，Blonde Youth，Artemision宙斯和Gigantomachy之類的作品；“誤解”（布舒爾）或“希臘自然主義”（藝術(shù)史學(xué)家）。這項(xiàng)工作最重要的目的是要使海德格爾關(guān)于世界起源和年表的主張與基督教形而上學(xué)，科學(xué)的B等競(jìng)爭(zhēng)性替代品重新煥發(fā)活力。爆炸理論，或關(guān)于子宮的形而上首要性的女性主義案件ema之以鼻。這項(xiàng)工作追求的最終貢獻(xiàn)是，使當(dāng)前停滯的范式轉(zhuǎn)變從科學(xué)向生存現(xiàn)象學(xué)世界觀的賦權(quán)成為可能。 （摘要由UMI縮短。）。

著錄項(xiàng)

  • 作者

    Arvanitopoulos, Michael.;

  • 作者單位

    University of South Florida.;

  • 授予單位 University of South Florida.;
  • 學(xué)科 Philosophy.;Metaphysics.
  • 學(xué)位 Ph.D.
  • 年度 2016
  • 頁(yè)碼 223 p.
  • 總頁(yè)數(shù) 223
  • 原文格式 PDF
  • 正文語(yǔ)種 eng
  • 中圖分類
  • 關(guān)鍵詞

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