论梅洛—庞蒂视域下的深度视觉观

发布时间：2017-12-31 20:29

本文关键词：论梅洛—庞蒂视域下的深度视觉观　出处：《华东师范大学》2017年硕士论文　论文类型：学位论文

【摘要】：深度视觉是如何形成的?本文试图借梅洛-庞蒂的视角去关注该问题。与传统哲学不同,梅洛-庞蒂从现象学的角度,以身体、知觉为基础对该问题展开了分析。在《知觉现象学》中,首先他针对笛卡尔和贝克莱的解释予以批评,指出虽然二者的具体观点不同,但他们的观点都是建立于主客二元对立的基础上的。梅洛-庞蒂则把深度视觉理解为是身体图式在世界中的展开,立足于身体与世界的处境性关系。在《眼与心》中,他批评了现代科学的绝对人工主义,它使我们脱离了生活世界中的感性经验。梅洛-庞蒂肯定了画家式的视看,这种视看扎根于原初的视觉体验,将深度理解为存在的显现。在《可见的与不可见的》中,他明确了"肉"的概念,"肉"体现了主体与世界的交织,进一步从本体论的角度去论述深度。绘画艺术始终把探寻深度作为目的之一,绘画的历史可以说是一部表现深度的历史。梅洛-庞蒂对绘画艺术有着较高的关注,文本试图借其在《塞尚的疑惑》、《间接的语言和沉默的声音》、《眼与心》中结合绘画艺术讨论深度的部分,并结合具体的绘画作品,从艺术的维度切入对深度问题展开进一步的分析。梅洛-庞蒂从现象学的角度,立足于主体与世界原初的亲密关系,对深度视觉给予了有效的解释。具身认知哲学吸取了梅洛-庞蒂的知觉现象学的思想,并结合现代心理学和科学的研究,对深度视觉的解释受到了不少认同。面对具身认知的强势推进,梅洛-庞蒂对该问题的解释是否已经过时了?具身认知哲学中的代表人物阿瓦·诺伊在《生成的知觉》中提出感知运动理论,从身体与环境的交互关系中去探讨深度视觉问题,然而他的解释从根本上来说仍然是从主客二元对立的框架下展开的。与梅洛-庞蒂相比,他并未深入到本体论的层面去探究该问题,并未揭示出深度作为世界显现的根本奥秘。
[Abstract]:The depth of vision is how to form? This paper attempts to use the Melo Ponty perspective to pay more attention to the problem. Different from the traditional philosophy, Melo Ponty from the phenomenological point of view, to the body, perception on the basis of analyses the problem. In "phenomenology of perception", he explained to Descartes and Bekele first the criticism points out that although the specific point of view of the two different, but their views are based on subjective and objective two opposite. The Melo Ponty put depth vision is interpreted as the body schema expansion in the world, based on the situation of the relationship between body and the world. "In the eye and heart", he criticized the doctrine of absolute Manual of modern science, it makes us from the perceptual experience of the world of life. Melo Ponty affirmed the view of the visual artist, rooted in the original visual experience, the depth of understanding for the existence of the show. "In May See and not visible ", he defined the concept of" flesh "," meat "embodies the intertwined with the world body, further from the ontological perspective to discuss the depth. The art of painting has always been to explore the depth as one of the aims of the history of painting can be said to be a manifestation of the depth of the history of Melo. Ponty has a high attention to the art of painting, the text try to borrow Cezanne's doubts in < >, < indirect language and the voices of silence", "combination of eye and heart in depth discussion > painting part, combined with the specific paintings, from the artistic point of view, further analysis of the depth Melo Ponty. From the perspective of phenomenology, the close relationship between the subject and the world based on the original, give a valid explanation of visual depth. Embodied cognition philosophy from perceptual phenomenon Melo Ponty's theory, combined with modern psychology and scientific research The depth of visual interpretation by a lot of identity. In the face of embodied cognition to promote a strong, Melo Ponty explanation of the problem is outdated? The perceived motion theory of embodied cognition in philosophy representative of AVA in Illinois < generation perception ", to explore the depth of visual problems from interaction the relationship between the body and the environment, but his explanation is still fundamentally from the framework and the two opposite conditions. Compared with the Melo Ponty, he did not go deep into the level of ontology to explore this problem, have not revealed the depth as the fundamental mystery of the world show.

【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：B089

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