恐怖的身体:无声之家的邪恶天才

IF 0.3 0 PHILOSOPHY

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2020-08-21 DOI:10.7764/67.7

Estefanía Paz Hermosilla Órdenes

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引用次数: 0

摘要

本文从哲学思想的角度考察了幽灵和恐怖的本质，以及它如何使我们在认识论的领域中重新思考对现实的感知、理解和认识中的恐怖体验。这一分析首先是通过对勒内·笛卡尔在《形而上学沉思》中提到的邪恶天才形象的恢复来发展的，这为重新考虑作为主体性结构中存在的因素的恐怖提供了关键。除此之外，它是基于雅克·德里达的电影作为一种生产光谱的工具的考虑，同时它让我们理解鬼魂的形象是一种破坏和改变现实的形象。在对Gustavo Hernandez导演的乌拉圭恐怖电影《寂静的房子》的分析中，这两种研究方式都融合在一起，这部电影开启了欣赏恐怖是一种身体体验的可能性，让主题对自己和他的世界有了新的理解。

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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El cuerpo del terror: el genio maligno en La Casa Muda

This paper investigates the nature of the ghost and terror into philosophical thought, and how it allows us to reconsider, in the field of epistemology, the experience of terror in the perception, understanding and knowledge about reality. This analysis is developed, firstly, by means of the recovering of the evil genius figure mentioned in the Metaphysical Meditations by Rene Descartes, which provides a key to reconsider terror as an element present in the conformation of subjectivity. Besides that, it is based on the considerations on Jacques Derrida’s cinema as a device for the production of spectra, meanwhile it allows us to understand the figure of the ghost as that which disrupts and alters the reality. Both lines of study converge in the analysis of the Uruguayan horror film The Silent House, directed by Gustavo Hernandez, which opens the possibility of appreciating how terror is a bodily experience that allows the subject to access a new understanding of himself and his world.

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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.