Identity and Difference of Poiesis

创生的同一性与差异性

• 批准号: 60301007
• 负责人: FUJITA Kazuyoshi
• 金额: $ 6.85万
• 依托单位: The University of Tokyo
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Co-operative Research (A)
• 财政年份: 1985
• 资助国家: 日本
• 起止时间: 1985 至 1987
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-60301007/
• 关键词: poiesis; from being to sense shifter; innovation of world view homo opifex; little demiourgi; poiesis of reception; 小さなデミウルゴス; 享受のポイエーシス; 存在の忘却; ポエーシス; 能動性; 受動性; 創造性; 原因; 存在と意味; 世界観; 人間化ナ; 原因性; 展望; 目的因

It is the aim of our research to view the meaning of the art as 'Poiesis' from various angles, fundamentally freely from a framevork of the classic metaphysical ontological epistemology and aesthetics, which is deeply associated with 'mimesis' as a fundamental doctrine to the classic aesthetics. It is an important change in our times that the meaning of 'Poiesis' turns from the creation of the work of art as an ens which is a beautiful being to the production of a certain way of looking at our 'world', that is to say, to the innovation of a picture of the 'world'. In this perspective the ideas of classic metaphysical aesthetics, i.e.,poiesis as mimesis, the beauty of the being as the purpose of poiesis, the order of the art-being have almost disappeared. In this way the art-work has changed from the art-being to the one meaning as a shifter of the world picture, not in the strict sense of the epistemology, which makes the idea of poiesis of reception possible, which appears at the first glance a contradictory concept. But it is also without doubt remarkable to the modern aesthetics, that the various innovations of the new meanings as shifters are too much overestimated. These meanings freed from the yol of 'esse' or 'ens' seem to float in confusion on the surface of the second degree. In this meaning, in our modern times, various little demiourgi(artists) enumerate each other the performance of the little innovation of the world picture. It is our next problem to consider with attention the reason or justification for being of 'homo opifex' in the present age.

我们的研究目的是从不同的角度来看待艺术作为“Poiesis”的意义，基本上是自由地从古典形而上学的本体论认识论和美学的框架中，这与作为古典美学基本原则的“模仿”有着深刻的联系。这是我们时代的一个重要变化，“Poiesis”的意义从创造艺术作品作为一种存在，这是一个美丽的存在，以某种方式看待我们的“世界”的生产，也就是说，对“世界”的图片的创新。在这一视角下，古典形而上学美学的思想，即，作为模仿的创造，作为创造目的的存在之美，艺术存在的秩序几乎消失了。这样，艺术作品就从艺术存在转变为作为世界图景的一个移动者的唯一意义，而不是在严格意义上的认识论上，这使得接受的创生观念成为可能，而接受的创生观念乍一看是一个矛盾的概念。但是，对于现代美学来说，无疑也是值得注意的是，作为转移者的新意义的各种创新被高估了。这些从“存在”或“存在”的约尔中解放出来的意义似乎在第二层次的表面上混乱地漂浮着。在这个意义上，在我们的现代，各种各样的小艺术家互相列举了世界图景的小创新的表现。我们的下一个问题是要认真考虑在当今时代成为“同性恋”的原因或理由。