«جهان متن» و «زیبایی شناسی دریافت» در پوئتیک ارسطو و پوئتیکِ مدرن امبرتو اکو (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
یکی از مهم ترین موضوعات در تحلیل های فلسفی و نقد آثار هنری توجه به موقعیت مخاطب و نقش او در فرایند خلق اثر هنری است. در تاریخ فلسفه، ارسطو نخستین اندیشمندی است که در تبیین آراء فلسفی خود در پوئتیک ضمن توجه به ساختار متن و موقعیت هنرمند نخستین مبانی توجه به موقعیت مخاطب و زیبایی شناسی دریافت را ارائه نموده است. در فلسفه معاصر و زیباشناسی مدرن نیز اُمبرتو اِکو ضمن اذعان به اهمیت پوئتیک ارسطو در تاریخ زیبایی شناسیِ دریافت، به بحث از توان تفسیری متن و نقش مخاطب پرداخته و در اثر گشوده نقدی جامع از هنر و زیباشناسی مدرن ارائه داده است. نویسنده در این مقاله با روشی توصیفی تحلیلی ضمن بررسی آراء زیبایی شناسیِ دریافت از دیدگاه ارسطو و امبرتو اکو، فرایند خوانش متن و موقعیت مخاطب را هم در پوئتیک ارسطو و هم در پوئتیک مدرن امبرتو اکو مورد واکاوی و تحلیل قرار داده است. هدف از این پژوهش واکاوی فلسفی «جهان متن»، قابلیت تفسیری آن و نقش مخاطب در فرآیند خلق اثر در تاریخ فلسفه ی هنر است. نتایج پژوهش بیانگر اهمیت توجه به استراتژی متن، استراتژی مخاطب و نقش او در فرآیند خوانش اثرهنری در زیبا شناسی کلاسیک و زیبایی شناسی مدرن است.The "text world" and " aesthetics of perception" in the Aristotle 's Poetics and the Umberto Eco 's modern poetics
One of the important issues in the modern Hermeneutics is interpretation of text and openness of artwork. While this is an old subject in the history of philosophy. Aristotle (384-322 BC) is first philosopher in the history of art that in his Poetics - a famous work about literary critic – pay attentions to the text structure and the author position and nevertheless he considers first principles from aesthetics of perception and reader position in his philosophical account of tragedy in ancient Greek culture. Besides in the modern aesthetics, Umberto Eco (1932 - 2016) a Italian famous influential essayist and critic of culture and art considers perception aesthetics, the process of reading and interpretation of text in his variety works such as The Open Work (Opera aperta), The role of the read, interpretation and over interpretation even in his famous novel: The Name of the Rose. From Eco's viewpoint a narrator, as well as a poet, should never provide interpretations of his own work. He says a text is a machine conceived for eliciting interpretations. He claims the active role of interpreter in the reading of texts endowed with aesthetic value. From Eco's point view a text, in so far as it is the result of the manipulation of the possibilities of system, it is not open in the same way. In the process of producing a text one reduces the range of possible linguistic items. By reducing the possibility of producing infinite strings, a text also reduces the possibility of trying certain interpretations. To say that the interpretations of a text are potentially unlimited does not mean that interpretation has no object. To say that a text has potentially no end, does not mean that every act of interpretation can have a happy end. Thus, in this essay, I have discussed three important concepts in the history of philosophy of art: "the text "(or same" the text world ")," the reader place " and "the process of reading of text and the potentiality of interpretation" in the Aristotle 's Poetics and the Eco 's modern poetics. Really, I've researched about the relationship between the text and the reader from point view of these two thinkers. The result of research show us although Aristotle points to the position of reader and his relationship to the artwork but his aesthetic views is not counted accurately among the "aesthetics of perception", for he argues the reader has not role in the process of creation of artwork at all, That is when he is confronting artwork, he falls victim to his feeling and emotion. Also by reading it, he will merely discover intention of author. While in the Eco's modern poetics, the main issue is the openness of the artwork, potentiality of interpretation of text and also the active role of reader in the process of creation of the artwork. Actually he influences the ability to interpret and create the text world during the reading of the artwork, and believes that the "Model Reader" has a significant contribution to this process.
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