From Abbild to Bild? Depiction and Resemblance in Husserl’s Phenomenology

IF 0.3 0 PHILOSOPHY

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2017-01-01 DOI:10.13128/AISTHESIS-20912

C. Rozzoni

引用次数: 3

Abstract

In a well-known course he gave in 1904-1905, Edmund Husserl developed a ‘threefold’ notion of image revolving around the notion of depiction [Abbildung]. More specifically, the phenomenological description allows a seeing-in to emerge as an essential characteristic of the image consciousness, in which an image object assumes the role of a representant [Reprasentant] in order to allow us to see the image subject in the image itself (thanks to “moments of resemblance” shared by image object and image subject). Nevertheless, our paper – focusing particularly on what might be called the depictive art par excellence, that is the portrait – aims to show that it would be erroneous to read the Husserlian notion of image exclusively on the basis of this earlier course: things seem to change significantly when Husserl develops a different notion of phantasy, and artistic images, in particular, are not to be thought of as resembling something else, but rather as expressive images producing their own model.

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从Abbild到Bild?胡塞尔《现象学》中的描述与相似

埃德蒙·胡塞尔(Edmund Husserl)在1904-1905年的一门著名课程中，围绕着描绘(Abbildung)的概念，提出了一种“三重”图像概念。更具体地说，现象学的描述允许视进作为图像意识的一个基本特征出现，在这个特征中，一个图像对象承担了一个代表物的角色，以便让我们在图像本身中看到图像主体(感谢图像对象和图像主体共享的“相似时刻”)。然而,我们的论文,特别关注可能是所谓的描写的艺术卓越,这是肖像,旨在表明,这将是错误的阅读他的概念图只这之前课程的基础上:事情似乎改变显著,当胡塞尔发展不同概念的幻想,和艺术形象,尤其是不被认为是像别的东西,而是表达图像生产他们自己的模型。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.