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胡塞尔的想象和幻象

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马克·里希尔分析论证指出,在胡塞尔那里,想象是对没有物理载体的图像客体的一种"感知表象",是感知表象式的拟象.而幻象和想象的区分虽不是严格确定,但还是有区别的.想象仍然有其当下不在场的图像主体,而幻象则没有当下不在场的图像主体.幻象显现具有四大特征:一是多变性或变形性;二是在所谓连续的时间过程中非连续性的闪现;三是在同一个假定的时间连续体中具有间歇性;四是他们的显现是不存在的虚无.但是,幻象需要在想象行为中显现,尽管幻象没有与之相对应的、被其所代现的现实存在的图像主体.在戏剧表演中,戏剧人物是无法直观、并不存在的"感知"幻象,演员只能具身化这种不可形象化的戏剧人物.演员只有在具身化这一并不存在的感知幻象过程中进行移情,他才是好演员.
Husserl's Imagination and Phantom
Marc Richir's analysis and argument indicated that Husserl held imagination as a kind of"perceptual representation"of image objects without physical carrier,and imagination was a simulacrum of perceptual representation.The distinction between phantom and imagination is not very strictly defined,but a difference does exist.That is,imagination still has its image subjects that are absent,while phantom has no image subjects that are absent.Phantasmal manifestations have four characteristics as fol-lows.First,it is variability or deformability;second,it is the non-continuous flashes in the so-called continuous time processes;third,it is the intermittent in the same assumed time continuum;fourth,their appearance is nothingness that does not exist.How-ever,the phantom needs to be manifested in the act of imagining,though the phantom has no corresponding image subject of the re-ality that it represents.In theatrical performances,the dramatic characters are"perceptual"phantom that cannot be perceived di-rectly as they do not exist,and the actors have only incarnations of the intangible theatrical characters.Only when an actor can ex-ercise empathy in the incarnation as a perceptual phantom that does not exist,can he be a good actor.

Husserlimaginationphantom,nothingnessincarnation

马克·里希尔、曾仲权

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江苏师范大学文学院,江苏 徐州 221116

华东师范大学中文系,上海 200241

浙江大学哲学院,浙江 杭州 310058

胡塞尔 想象 幻象 虚无 具身化

2024

贵州大学学报(艺术版)
贵州大学

贵州大学学报(艺术版)

影响因子:0.204
ISSN:1671-444X
年,卷(期):2024.38(1)
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