著者

阿達 佳子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.73, no.2, pp.1-12, 2022 (Released:2024-01-01)

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It is well known that Hans-Georg Gadamer (1900-2002) placed the concept of “play (Spiel)” at the center of his art theory. The main concept in his art theory, however, has changed from “play” to “execution (Vollzug)” since the 1990s. This paper examined this change as a shift and clarified its significance by comparing “Truth and Method” (1960) and “Word and Image: as True as Being” (1992). In “Truth and Method”, concepts of art such as structure (Gebilde), simultaneity, and mimesis are all developed on the basis of “play”. In “Word and Image,” on the other hand, structure and simultaneity are reconsidered on the basis of execution derived from energeia. The simultaneity is redefined as a way of dialogically “tarrying (Verweilen),” and the structure is subsumed into the concept of execution as a self-formation of meaning. It means that in the experience of art execution is an interpretation that proceeds together in an agreed upon dialogic event between artwork and spectator called tarrying. The change in the main concept from “play” to “execution” is not based on a shift in the basic idea, but is the result of the reorganization of “play” into the more comprehensive concept of “execution”.