اثر هنری در مقام یک جور ساختار آگاهی:مقدمه ای پدیدارشناختی درباره چیستی امر هنری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
مسئله اساسی در پدیدارشناسی استعلایی ادموند هوسرل،در همه دوره های تفکری که به او نسبت داده اند، بحث درباره بنیان یقینی دانش است. پژوهش حاضر تلاشی برای به کار بردن آنچه ادموند هوسرل از دانش یقینی افاده کرده بود به اعتبار امر هنری است. از آنجایی که هر بحثی درباره پدیدارشناسی استعلایی به یک معنا بحث درباره نحوه دادگی چیزها بعنوان هستی هایی بدنمند،برای سوبژکتیویته،و بیناسوبژکتیویته های به لحاظ بدنی موقعیت یافته در جهان است، هدف ما در این پژوهش مشخص کردن رابطه میان این دادگی بدنمند و موقعیت یابی بدنی با اثر هنری،و از این طریق ارائه فهمی پدیدارشناسانه از چیستی اثر هنری متناسب با پدیدارشناسی استعلایی ادموند هوسرل است. ما برای این کار از طریق گرد آوردن مجموعه ای از داده های ممکن در ادبیات فلسفی ادوند هوسرل،و برخی از مفسرانش، هدف خودمان را دنبال کرده ایم. در این راه، برای تبیین چیستی اثر هنری بعنوان محتوای یک جور رابطه پدیدارشناختی میان هنرمند و هستی مادی اثر هنری از روشی توصیفی-تحلیلی استفاده شده است.براساس نتایج بدست آمده، اثر هنری یک جور حاضر سازی روی آوردی جهان در یک جور روی آورندگی هنرمندانه است.به طوری که هر اثر هنری یک جور حاضر سازی روی آوردی بدنمند جهان است آنطور که در تجربه روی آوردی هنرمند دیده شده است.این در مغایرت کامل با تئوری های بازنمایی قرار می گیرد.the artwork as a structure of consiousness: an introduction on what Art is
When we are talking about artwork, what are we talking about? Is the meaning of art as a kind of accurate representation of the world as realists may believe it, or are we talking about extrapolation to human psychological states that, as an artist, evaporates from its psychological state? Each of these questions will inevitably lead us to believe in a form of representation of something original and pre-existing. Whether the world, whether nature and society, or the psychological state of the artist - fears, frustrations, love, hatred, and other psychological situations. In this paper, we have tried to illustrate how some of the phenomenological concepts of Edmund Husserl's literature show how the artwork is a form of representing the meaning of the world, as it has been given in the artist's intentional and none-reflective experience. To do this we have tried to provide a proper definition of the concepts we have in Husserl. meanwhile, we tried to establish the proportions that are necessary to achieve the goal of our research. Our basic questions are about the work of art, body and its relationship with the work of art and its perception, as well as the fundamental relationship between the artist and the work of art. We devoted ourselves to trying to demonstrate the artistic nature of art in general and artwork in particular. We tried to enlighten the relationship between the artwork as an object and the objectivity of art-between what the objectivity of art is, and what, as it may be, in the realist approach of art, the artwork as an object is. We also examined the importance of the artist's intentional experiences during the creation of artwork. We also tried to illustrate the importance of the artist's relation to the world around him in virtue of his living-body, both in the production of artwork and in understanding it. Our attempt to demonstrate the attachment of artwork to a natural approach has also examined the relationship between truth claims and art in a phenomenological reading. This, of course, is only a preliminary attempt to move towards a formulation by which we might be able to find new possible truth foundations in art and artworks. We are totally writing against representationalism in an understanding of art, be it a positive approach to representation or a negative one. We proceed toward our research by some prepositions; such as Art is something autonomous which is not bound to any scientific approaches; Arti is not A representation of something it creates the world; by such a creation art provides a non-scientific foundation for human conversation as a tool for improving the world as an inter-subjective world shared in our inter-bodily existence. We also decided to apply Husserlian Conceptions in regard to prepare an answer for anti-foundationalist accounts of art which totally deform what we know as Art and reduce Art to a kind of self-expression of a soloistic Subject which they call an artist. It is of course just an introductory essay.
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