现实,“虚构”和虚构的心理现实化

Kayode Olla
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引用次数: 0

摘要

文学的读者,音乐的听众,视觉艺术的鉴赏者——事实上,所有的接受者或“观众”在任何形式的创作和表演艺术中——当作品在他们心中引起共鸣时,有时确实会在个人和主观的层面上与艺术作品联系在一起。观众倾向于发现自己和他们的日常现实反映在作品的创造性或制定的现实中,或“放置”。这种主观体验被称为“心理实相”。本文通过西格蒙德·弗洛伊德的内部/外部现实的精神分析概念和亚里士多德的宣泄的戏剧性概念的棱镜提出了这一概念。它在心理实相的概念中确立了艺术实相、精神-物质实相和镜像/相关性等关键概念。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Reality, “Fiction” and Psychorealising the Fictive
Readers of literature, listeners of music, appreciators of visual art – indeed, all recipients or “audiences” in any form of the creative and performance arts – do sometimes connect with the artistic work on a deeply personal and subjective level when the work strikes a relatable chord in them. Audiences tend to find themselves and their everyday reality mirrored, or “placeable,” in the work’s creative or enacted reality. This subjective experience has been termed “Psychofictive Reality”. This article proposes this concept through the prism of Sigmund Freud’s psychoanalytic concepts of Internal/External Realities and Aristotle’s dramatic notion of Catharsis. It establishes key notions such as Artistic Reality, Psychic-Material Reality and Mirrorness/Relatability, in the concept of Psychofictive Reality.
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