审美经验与身体意象

发布时间：2018-02-26 16:55

本文关键词： 身体意义感觉表层　出处：《复旦大学》2004年博士论文　论文类型：学位论文

【摘要】：德勒兹是当代法国著名的哲学家,其思想风格多样,涉及领域广泛,概念和理论也往往独辟蹊径。因此,要从如此五光十色的思想聚合体中清理出一条线索对其思想进行系统、深入地评介,必须要选择一个恰当的出发点。我们的出发点就是“审美经验”和“身体”这两个概念,这种选择是出于德勒兹哲学的内在发展线索和美学史发展的逻辑两个基本的考虑。首先,德勒兹始终强调自己的哲学是“彻底的经验主义”,因此,强调对身体和生命层次的经验的关注,强调概念必须与经验紧密关联,阐述经验内在的“逻辑”一直是德勒兹哲学的最基本的出发点。而在对“经验”的关注中,审美经验的问题又毫无疑问构成了其哲学思索的一个非常重要的方面,这体现在他的基本的概念之一“思想 -意象”就是强调哲学与艺术的一种互动与作用而创造出一种“具体性的思想”。而选择身体问题作为出发点的另一个明显的原因就是,德勒兹的哲学的一个特征就是新创的概念繁多,而“身体”这个概念则几乎与其所有的基本的概念都存在着内在的关联;另一方面,从身体出发还可以构建出“内在性的平面”,使所有的这些概念之间产生出一种新的联系。而从哲学史和美学史的角度来看,美学的诞生正是源自对不同于精神和概念领域的身体层次本身的活生生的经验的关注和反思,这是美学在领域上的独特性;而从方法上说,美学的独特的中介性又使得它能够成为不同的领域和层次之间的一种沟通的桥梁和途径。因此我们的基本的思路就是:在第一章“导言”中,我们先大致分析了一下审美经验这个概念的内涵,但因为我们的研究主要还是关注德勒兹哲学本身的逻辑发展,所以我们就挑选了美学史上对身体层次的审美经验进行过比较深入的思索的哲学家之一——尼采的思想作为一个思索的出发点:尼采提出的对“身体” 层次的“多”的经验的“信仰”和肯定,以及把艺术创造作为对这种“多”所进行的“表现”的手段,这两点也是贯穿我们整个写作计划的最基本的线索。在第一章中,我们研究了德勒兹对身体进行思索的真正起点、也是其哲学思想的奠基之作,《意义的逻辑》。我们主要研究了其中作为身体-语言的“表层” 和“边沿”而生成的“意义”的思想。身体-语言的问题最早是在《意义的逻辑》出版之前的论 Klossowski 的一篇论文中提出的,但那里只是提出了身体和语言作为差异系列的相互作用,而并没有真正揭示出这种作用得以进行的“场所”和 “机制”。在《意义的逻辑》中,他则进一步提出身体的“表层”作为“意义” 生成的场所。我们同时批判了在身心关系上的两个基本的传统哲学的误解:一是因果论,把身体的“意义”和“表现”的层次还原到身体的物理和生理的运动与 WP=6 规律(“深层”);二是柏拉图的精神赋予身体以秩序的理论(“高层”)。显然这两者都偏离了身体进行“表现”的内在的平面。真正的“意义”的生成是在身体- 语言的“表层”:处于“表层”的是“虚因”与“事件”。接下来我们要结合斯宾诺莎的哲学来分析“表现”这个概念,我们先分析了一下这个概念的哲学史背景,主要是与柏拉图的“分有”、普罗提诺的“流溢” 的区别。然后分析了以往的身心二元论用同一性的表象框架排除了身体经验的生成运动的特征,这主要导致了笛卡儿的“感觉”理论的困境。然后我们分析了斯宾诺莎“表现”这个概念的两个基本的规定性:内在性和均在性。内在性指“表现者”和“表现”通过“意义”的环节相互内在的关系;均在性则是说“表现” 总是通过差异的系列而无限拓展的。然后我们分析了艺术史上的“表现”这个概念的悖论(主要体现于浪漫派艺术),还进一步介绍了德勒兹论述过的文学中的 “表现”的机制(普鲁斯特、卡夫卡)。第三章中我们要进入身体的“表现”的向度,而这主要是通过对德勒兹的《感觉的逻辑》一书的解读而提出的:首先我们论述了绘画中的“意象”的逻辑总是 “事件”的逻辑,即从事实性向事实的可能性的转化(或者相反,是后者在事实层次的实现,但我们主要思索前一点)。而“感觉”的逻辑正是这种转化的过程: 感觉的运动包括两个相互不可分离的层次,即绘画中的意象和身体层次的感觉, 而贯穿这种运动的正是“不可见的力”和“时间性”的涌现。从“意象”自身来说,培根的画中总是表现了身体从意象中涌现的过程;从“感觉”来说,它是“意象”自身所表现的“力”在身体层次的继续的运动,因此,是对“意象”所表现的“意义”继续创造。“感觉”的运动就体现在穿越身体不同层次的“共振”,对界限分化的“器官”和“机体”的超越,而这一点德勒兹通过“无器官的身体” 来描述。最后,我们分析了一下梅洛-庞蒂的身体现象学的不充分性及其后期的向艺术问题的转化。我们还进一步分析了传播学中的“媒体”作为感觉之间关联的建立和重组的“平面”的特性,揭示了德勒兹感觉理论的现实意义。在结论中,我们并没有简单地重复前面的论述,而是试图以我们从德勒兹的身体、感觉理论中所挖掘出来的基本思想来进一步地分析一下我们时代的“身体状况”。我们集中于两个基本的领域:大众消费和网络的虚拟空间,因为它们的共同特点都是关注、
[Abstract]:Deleuze, a famous contemporary French philosopher, has a wide range of fields, concepts and concepts.
The theory is often inventive. Therefore, to clean up a clue from the thought of the polymer so resplendent with variegated coloration
It is necessary to choose a proper starting point for the systematic and in-depth evaluation of its ideas.
Our starting point is the two concepts of "aesthetic experience" and "body". This choice is based on virtue.
The inner development clues of Lez's philosophy and the logic of the development of aesthetic history are two basic considerations. First, Deleuze
The end emphasizes that one's philosophy is "thorough empiricism" and, therefore, emphasizes the experience of the body and the life level.
It emphasizes that concepts must be closely related to experience, and that the internal "logic" of experience is always Deleuze
The basic starting point of philosophy, and in the attention of "experience", the problem of aesthetic experience is no doubt
It constitutes a very important aspect of his philosophical thinking, which is reflected in one of his basic concepts, "thought.
Image "is to emphasize the interaction and function of philosophy and art to create a" concrete idea ".
Another obvious reason for choosing the body as a starting point is a feature of Deleuze's Philosophy
It is a variety of new concepts, and the concept of "body" is almost all of its basic concepts.
On the other hand, on the other hand, the "inner plane" can be built from the body, so that all
There is a new connection between these concepts. From the point of view of the history of philosophy and the history of aesthetics, aesthetics
Birth is derived from the living experience of the body itself, which is different from the spiritual and conceptual areas.
And rethinking, this is the uniqueness of aesthetics in the field; and, in a way, the unique mediator of aesthetics
It can be a bridge and way of communication between different fields and levels.
So our basic idea is: in the first chapter, "Introduction", we first roughly analyze it.
The connotation of the concept of aesthetic experience, but because our research is mainly concerned with the logic of Deleuze's philosophy itself
We have chosen the aesthetic experience in the history of aesthetics to think more deeply about the aesthetic experience of the body level.
One of the philosophers of the cable - Nietzsche's thought as a starting point for thinking: Nietzsche's "body"
The "belief" and affirmation of the "multi" experience of the hierarchy and the creation of art as the "many"
The means of performing "performance" are the most basic clues that run through our entire writing program.
In the first chapter, we study the real starting point of Deleuze's thinking on the body, and also his philosophical thought.
To the foundation of the logical meaning. ", we mainly study the body language as" surface"
The idea of "meaning" generated by the "edge". The problem of body language is first in the logic of meaning.
It was put forward in a paper before the publication of the Klossowski, but there was only the body and the language.
As the interaction of the difference series, it does not really reveal the "place" and the "place" of this effect.
"Mechanism". In the logic of meaning, he further puts forward the "surface" of the body as "meaning"
At the same time, we also criticize the two basic misconceptions of traditional philosophy in the relationship of body and mind: one is
The theory of causation restores the body's "meaning" and "expression" to the physical and physical movements of the body and the physical and physical movements of the body.
WP=6
Law ("deep"); two is the theory that Platon's spirit endows the body with the theory of order ("high level"). Obviously this two
Both deviate from the inner plane of the body to perform "expression". The real "meaning" is generated in the body -
The "surface" of language: the "surface" is the "virtual cause" and "the event".
Then we are going to analyze the concept of "expression" with Spinoza's philosophy, and we first analyze it.
The concept of the history of philosophy background, mainly with Platon's "a", Plo Tino's "flush"
The difference between the body and the body's physical experience is then analyzed.
The characteristics of the motion, which mainly led to the dilemmas of Cartesian's "sense" theory, and then we analyzed it.
Two basic provisions of Spinoza "performance" of the concept of intrinsic and all. "Refers to the inner table
The relationship between "present" and "expression" through the link of "meaning"; all in sex is "expression".
It is always extended through the series of differences. Then we analyze the "expression" in the history of art.
The paradox of reading (mainly embodied in the romantic art) is also a further introduction to Deleuze's literature.
The mechanism of "expression" (Proust, Kafka).
In the third chapter, we have to enter the body's "expression", and this is mainly through the sense of Deleuze's < feeling.
The logic of sense > An Interpretation of a Book: first we discuss the logic of "image" in painting.
The logic of "events", the transformation of the possibility of fact from fact to fact (or, on the contrary, is the fact that the latter is in fact. "
The realization of the level, but we mainly think about the previous point. And the logic of "feeling" is the process of this transformation.
The movement of feeling consists of two interrelated levels, that is, the image in the painting and the feeling of the body level.
The movement through this movement is the emergence of "invisible force" and "time". From "image" itself
Bacon's painting always shows the process of body emergence from the image; from "feeling", it is "meaning".
The movement of the "force" as manifested by itself at the level of the body, therefore, is manifested in the "image"
The "sense" continues to create. The movement of "feeling" is reflected in the "resonance" across the different levels of the body.
The dividing line of "organ" and "body" is transcendental, and this point Deleuze passes through the "body free body".
In the end, we analyze the inadequacy of Melo Ponty's physical phenomenology and its later stage
We have further analyzed the "media" in communication as a relationship between feelings.
The characteristics of the "plane" of the establishment and reorganization reveal the realistic significance of Deleuze's feeling theory.
In the conclusion, we do not simply repeat the previous argument, but try to take us from Deleuze.
The basic ideas that have been excavated in the theory of body, sensation, to further analyze the "body" of our times.
We focus on two basic areas: mass consumption and the virtual space of the network because of their
The common features are all concerns.

【学位授予单位】：复旦大学
【学位级别】：博士
【学位授予年份】：2004
【分类号】：B83-06

【引证文献】