现象学与罗曼·英伽登美学

现象学与罗曼·英伽登美学

中文

胡塞尔在对理性和认识批判与反思的基础上,建立了他称之为严格科学的现象学,规定了现象学的宗旨与目标:“朝向事物本身”。胡塞尔认为,现象学是基础性的、对还原后的现象的研究,它与美学在很多研究领域都是相近的。现象学美学的发展见证了这一被称之为严格科学的发展历程。英伽登的现象学思想主要是在胡塞尔现象学哲学的基础上,对哲学本体论和美学的深入研究,他的根基是对胡塞尔现象学的接受与批判。英伽登认为,对事物的现象学研究必须以事物的物质存在为前提,而观念—存在论的分析则是他整个思想的基础。英伽登美学思想首先在于他对艺术作品特别是文学作品本体论深入而精当的研究。他认为,文学的艺术作品既不是一种观念的客体,也不是一种实在的客体,而是建立在它们基础上的纯粹意向性关联物;艺术作品的基本结构是由诸结构层次共同组成。在此基础上,英伽登对文学的艺术作品进行了本质解剖式的分析,为文学研究开辟了新的路径。英伽登的美学思想还集中在对审美活动过程中各种与审美活动相关要素的研究。英伽登首先确立了艺术作品与审美对象的不同,与审美对象对应的是审美经验活动,他认为审美经验是初始情感贯注的结果。在进一步分清艺术作品和审美对象的基础上,他认为艺术价值是艺术作品本身引起的并有其存在根基的东西;审美价值是仅仅在审美对象中或作为一种决定对象整体特征的特别时刻中表现自身的东西。英伽登的美学思想是现象学美学的重要内容,对于其后的解释学美学以及读者反应理论都有巨大的影响。了解英伽登的美学思想对于整个二十世纪西方美学的研究也是至关重要的。

译文

On the basis of criticism and reflection for the Vernunft and Erkenntnis, Husserl constructed his vigor science— phenomenology what he called, whose object is "Zu Den Sachen". In his opinion, the phenomenology focused on the foundation of the phenomena which was under reduction. Phenomenology is similar with aesthetics in many aspects, the development of the phenomenological aesthetics also showed the same course with the vigor science.The thought of Ingarden’s phenomenology, on the basis of the Husserl’s philosophical phenomenology, had a further research on the Ontology of philosophy and aesthetics. Ingarden thought, the research on the phenomenology was founded on the premise of physical materials; the argument of idealism-realism was his https://www.360docs.net/doc/667146034.html, whole basement of thought.At first, Ingarden had a fine and further research on the ontology of art works esp. the literary work of art. In his opinion, the literary work of art is neither the object of idealism nor the object of realism, but an intentional correlates which are on the basis of their foundation, and the art of work is completely constructed by the stratified formations. Therefore, Ingarden would like to provide only an "essential anatomy" of the literary work of art, which was a new methodology for the literary research.The aesthetic

thought of Ingarden also focused on the investigation of the related factors in the course of aesthetic activities. He first confined the differences between the work of art and the aesthetic object, the activity of aesthetic experience is to match with the aesthetic object, which was considered as the result of the preliminary emotion. On the basis of the further differentiation between them, Ingarden thought "Artistic value is something which arises in the work of art itself and has its existential ground in that; Aesthetic value is something which manifests itself only in the aesthetic object and as a particular moment which determines the character of the whole".Ingarden’s aesthetic thought is the important contents of phenomenological aesthetics, which strongly influenced the hermeneutic aesthetics and the theory of reader-response. Therefore, It is a great importance for the research on the western aesthetics of the whole 21th century to understand his aesthetics.