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当代法国现象学家马里翁对“被给予性”的强调和以此展开的分析,使得他更彻底地贯彻了现象学“回到事物本身”的精神。在马里翁看来,作为溢满性现象的绘画,通过其画框对纯粹可见性领域的划界和这个纯粹可见领域所获得的作为偶像的权力,使得它真正完成了现象学还原。同时,作为溢满性现象的绘画,不再是对原型的模仿,而是成为原型的原型,这或许让我们不再将艺术看作是对现实的模仿,而是现实在摹仿艺术。
The contemporary French phenomenologist Marion, emphasizing “being given sex ” and analyzing with it, made him implement the phenomenology “back to the thing itself ” spirit more thoroughly. In Marion’s view, the painting as a phenomenon of overfill, through the demarcation of purely visible fields by its frame, and the power as an idol, obtained in this purely visible field, make it truly a phenomenological restoration. At the same time, painting as a phenomenon of overfill is no longer a parody of the prototype, but a prototype of the prototype, which may prevent us from considering art as imitation of reality, but of reality as imitation of art.