In this way, the basic point of this book is clear, that is, "experience is constantly updated according to the relationship with the other." The last two chapters are devoted to "performance" because we want to examine how experience changes according to performance, performance media and performance technology.
The first chapter is devoted to "image". The scene we experience is the world of images. In order to find out this, we must always return the theory to this scene. From the moment of birth to the moment of death, we are always surrounded by visible and tangible phenomena-image. Even if we close our eyes, "images" still appear in our consciousness in the form of memories, dreams or hallucinations. Imitating Heidegger (Kloc-0/889-1976 Germany), we are "the existence within the image". Come to think of it carefully, this is terrible, because we can never escape the image. Therefore, the image theory is not only an "art" theory, but also a theory related to the whole human experience, and it has to become such a theory.
However, in our daily life, we don't pay much attention to the power and authenticity that images exert on us. This may be because our relationship with the image is too clear, there is no need to think so much. At the same time, we generally have no special image consciousness, and there are deeper reasons. That is, "language" blurs the image. Since we began to remember languages after birth, we have learned how to convert images into languages. Therefore, almost all the images that appear in front of us have names. The so-called language, plus symbols, is a world composed of relatively stable systems. Almost all images are associated with this language symbol, and the direct power of images is deprived or forgotten. Therefore, we can muddle through the images that appear in our consciousness, even if we don't respond to them one by one. In this way, the theory of "image" must include "language theory". The image of our experience has penetrated "language", that is to say, we must realize that in our experience, even if you think it is your direct experience, in fact, language has already penetrated it and is intertwined.
"Language? Symbol system is a special image system and a relatively stable image system. This is also what this book will discuss. In this regard, let's briefly explain it first.
Language symbol is an "image". They can only play a role when they distinguish between form and harmony. "A" and "B" are both tangible phenomena, that is, they are different in structure and sound as "images". Because we can realize this difference in form, harmony and image, we can learn a language. And because many people can recognize this difference, they can acquire a common language and discuss specific things. Here, there is another problem that cannot be ignored, that is, our "* * * connected cognitive image" problem. In the second chapter "Beautiful World", we take this issue as the theme. "Beauty" is closely related to this issue of "universality of cognition".
Image cognition is universal, which gives us a hope of "communicating" with others. Now, due to different religious beliefs and political thoughts, various disputes follow. This means that religious ideology and political ideology-a specific language symbol system-are deeply rooted in human experience, so conflicts and oppositions are not only ideological issues, but also emotional and emotional issues. Because even the most direct reaction-disgust and love-permeates the language, these disputes cannot be solved through political or religious dialogue. The * * * communication structure in our image understanding opens up the possibility of "communication" that cannot be solved through language dialogue. As long as this is the case, there will be a brand-new situation: individuals who get rid of the control of the central control tower can have equal dialogue and communication with others without instructions and slogans from above. In fact, at the personal level, people with completely different political beliefs and religious beliefs have already started rich dialogues and exchanged experiences with each other. This kind of dialogue and exchange will continue in the future. In this sense, the "boundary" and "dividing line" areas are more important than the "central control tower". It is not only an explosive scene of fierce hatred, but also a place where people of different faiths actually communicate and have friendship. In this way, although the universality beyond ideology in human cognitive structure cannot be easily expressed, it can be "imagined". Therefore, in the second chapter, we analyze Kant's Critique of Judgment and examine the universal appropriateness of "beauty". I try to raise this hope to a more specific theoretical level. I am afraid this will be criticized by many people: I am too optimistic. But I'm actually pessimistic. Because I don't think this possibility of dialogue and communication will fully become a reality. But I think we should still believe in the universality of cognitive structure, engage in practical dialogue with others and constantly transform our own experience. This is not only the principle of each of us, but also a practical topic. Therefore, my thoughts are neither conservative nor radical. Because the problem lies in the practice of personal experience, thinking and understanding, "perceptual theory" can not be changed into a "tough thinking" that can support an organization's morality from the beginning. Our perception theory is to attach importance to personal experience and then explore the possibility of relationship with others. In this sense, this idea may be called "irresponsible thinking". That's true. In this world where personal experience and understanding have lost their functions, no one can take responsibility; In such a world, I don't want this theory to be universally understood at all. I mean, escapism is the best strategy. This book doesn't deal with this problem. My topic is to explore the internal relations of the previous empirical structure.
And we are used to being close to the language symbol system, which strengthens another preconceived idea and makes us forget the problem of "image". This preconceived idea is to believe in the authenticity of "things". What we have been learning is that language is a transparent tool to represent "things", not images. This habit turns "things" into beliefs that existed before language. For us, it has become a belief with lasting influence. For perception, things always exist. No matter where you go, this belief will not disappear. It can be said that almost all sciences have this belief. However, does "thing" really exist? This question, we will taste it again and again in the first chapter. When we know that the concept of "thing" is based on some preconceptions-and only in this way-can we understand the meaning of "image" and its problems for experience. Therefore, in the first chapter, we will study Hegel's Phenomenology of Spirit. In Hegel's view, the contradiction of the concept of "thing" is expounded in an orderly way.
Language symbols are also "images". This means that language symbols are also "material". Even those scientific research papers that should convey the content most transparently depend on the opaque materiality of language. They should be marked in bold or underlined where they are emphasized. I should also consider these issues when writing this article. In my articles, I didn't use "ます", "です" or "でぁる", but adopted the expression of "だ". This is because when I showed these articles to several young students, they said. In the eyes of those who know the trade, this style may give people a sense of lightness. I totally believe this criticism. Because I just want young students to read this book, I chose this style on purpose.
The role of "language symbols" in human experience and its relationship with the image world are the main lines running through this book. Perhaps it can be said that this is the original intention to ask this question in a way that is never divorced from experience and strive for fairness, rationality and justice in the relationship between image and language symbols.
The title of this book is Aesthetics, which has always been called Aesthetics. The original meaning of this word is the theory of "aisthesis". I adopted its original meaning and named it sensibility. The reason is as mentioned above, because image can not be completely summarized as the world of "beauty" and "art", it is a problem related to all experiences.
The use of the word "art" in this book is also limited. I only use this word when I talk about traditional art after modern times and when I talk about art and art in traditional theories. On other occasions, this book uses art. I think there are all kinds of image-related behaviors besides the so-called art. There is no reason to distinguish or even separate these behaviors from "art". For example, cleaning the room, arranging clothes and makeup, cooking and loading dishes and other daily activities. It is an act of structuring the image in some form. As an act closely related to human understanding, it should also be called art.. We will discuss this in detail in chapters 3 and 4, especially in chapter 4.
This book mainly examines the theories of so-called modern German thinkers such as Kant, Hegel, Hegelians, Nietzsche and Federer. At this point, the book may seem biased. First, didn't the thoughts of France, Britain and the United States, the thoughts of ancient medieval times and the thoughts of the East all be missed? Secondly, modern thoughts-so-called structuralism, deconstruction, modern psychoanalysis, pragmatism, analytical philosophy and cultural studies, which are also popular in the history of aesthetic art, have not been ignored? The main reason for this result is that my main research object is modern German aesthetics and philosophy after Kant.
However, at the time of writing this book, I have never forgotten these thoughts outside modern Germany and modern thoughts that are widely concerned by modern Japan. Re-reading the theories of the above thinkers with such a mentality, what attitude will those philosophers appear in front of me? I'm always aware of this. It remains to be seen whether we can realize this. I hope that modern high-quality (I think) thinking will collide with modern thinking, thus constructing a theory. Let modern thinkers compete with modern thinkers on the same stage. This is what I want to try. I don't think we can clearly distinguish between modern and postmodern. Postmodern thinking inherits modern high-quality thinking and develops further. Is this understanding more productive? I have this belief now. However, I don't advocate what modern thought says, which has already existed in classical thought. It's no use doing such a thing. No, what I want to try is to re-examine the classics from the perspective of modern thought. So how should we reread the classics? In other words, can classicism be revived? Can the text of modern thought that has become a classic be reinterpreted? As an experiment, I will try to explain it in combination with our experience. It is my goal to construct a theory from this dialogue between modernity and modernity. At this time, the modern philosopher Kant's "three principles of human common sense" is still a guide to promote our in-depth thinking: one is the principle of self-thinking, the other is the principle of thinking from the standpoint of others, and the third is the principle of thinking in line with ourselves. These three principles respectively require "thinking mode liberated from preconceived ideas", "expanded thinking mode" and "consistent thinking mode". Of course, it is impossible to completely liberate from preconceived ideas, and it is impossible to extend our limited thinking to "all others". However, in order to share our thoughts, we can only aim at these three principles and infiltrate them step by step as seriously as possible. There is no other way. As for how far I have achieved here-this judgment can only please readers.
June 65438+10/October 65438+July 2002
Preface of Chinese version
This clumsy book was translated into Chinese, which gave me the opportunity to meet readers in the world other than Japanese, which was the author's surprise.
What I want to try in this book is to examine the experience structure of each of us as concretely as possible-it is always open and constantly updated for the future-and I want to examine this open experience structure.
Our human experience is always closely related to "language" and "image". Only "language" can't make experience hold water. Experience that can be established without contradiction in the world of language will stop in the world of simple concepts and assumptions as long as it is confirmed in the world of images. For example, the "concept (hypothesis)" (= "language world") about "cosmic space" is justified only if it is experienced by us as a world that can be seen by our eyes. The experience that can be established in the language world is simply "depicted in our minds", and of course it cannot be said that it is completely consistent with the experience world. Therefore, no one can impose this simple concept on experience, no one can explain experience in this way, and no one can summarize experience in this way. In that case, it is the suppression of experience and the violence imposed on it.
At the same time, we should also realize that human experience cannot be established by "image" alone. "Image" constantly surrounds everyone, and it is a mobile world that is inseparable from everyone. It is "language" that can save us from this flowing state and open up the experience world ("society") that we can * * * own. Therefore, we should be quite clear about the difference between "language" and "image" and their relationship. This is a key to test the structure of our experience.
From this point of view, it is undoubtedly an attempt of this book to bring experience as a whole into the specific scope of investigation. Therefore, this book has to go beyond the traditional "aesthetics" and return to the original meaning of this term (aesthetics) and write "On Aesthetics = Perception".
During the Meiji period, Japan studied western ideas and translated them into eastern languages. At this time, it was the China language and Chinese characters that the Japanese learned from ancient times that helped Japan's modernization-with the help of China Chinese characters, these Chinese characters were reassembled. Only in this way can the Japanese understand western cultures and translate them. The new combination of Chinese characters translated by Japanese was brought to China by China thinkers who studied Japanese modern thoughts at that time. It is in this sense that Japanese thought at that time was called "Japan Bridge" as a link between western thought and China thought. Wang Guowei, the representative of China's modern thought, said so. He was proficient in western thoughts through modern Japanese thoughts and imported them into China. Wang Guowei accepted western ideas through the "Japanese Bridge" and actively accepted what was useful to China at that time, which was very important for China's modernization.
This book is also written with the help of Chinese characters on the basis of modern western aesthetics, art and philosophy that I have studied all the year round. Whether this book can become what Wang Guowei calls a "Japanese bridge" depends on the readers in China. Taking this opportunity of translation, the author sincerely hopes to expand the places for cultural exchange and exchange of views among young people around the existing model of our experience, so as to deepen mutual understanding.
The Chinese translation of this book was completed with the enthusiastic support of many friends in China. From March to early May, 2000/kloc-0, at the invitation of Mr. Jiang Shuzhuo, vice-president and professor of Chinese Department of Jinan University, he gave aesthetic lectures twice a week for graduate students and young teachers of Chinese Department of Jinan University, totaling 15 times. Taking this opportunity, I wrote a handout on the basis of part of the contents in Chapter 4 and Chapter 3 of this book. Before leaving Japan, our school collated this book and handed it to the publishing house. During my stay in China, the Japanese version of this book appeared. In this sense, the publication of the Chinese version of this book is even more impressive.
Professor Wang Zhuo, the translator of this book, translated it for me while giving lectures in China. At that time, he was an associate professor at Hainan University and was studying for a doctorate at Jinan University. Wang Zhuo has a good understanding of Japanese literature and literature, and his Japanese ability is excellent, which makes my lectures in Jinan University more substantial, and even makes more extensive exchanges with graduate students and young teachers after each class. During this trip to China, I also had the opportunity to give speeches at Huizhou University and twice at Guangxi Normal University, all of which were translated by Mr. Wang Zhuo. Professor Li Xinfeng of Beijing Academy of Fine Arts, who recommended me to Mr. Jiang Shuzhuo, also invited me to give a lecture at the Academy of Fine Arts, and Mr. Wang, an associate professor of Japanese literature at the School of Foreign Languages of Beijing Normal University, acted as an interpreter.
When giving a lecture at Jinan University, Mr. Wang Zhuo proposed to translate this book into Chinese. In order to make new progress in his personal research, we applied for a grant from the Japan Association for the Promotion of Academic Research. Mr. Wang Zhuo came to Japan for two years as a special researcher for foreigners of Japan Association for the Promotion of Academic Research. The Literature Research Department of the Graduate School of Kyoto University also accepted him as a foreign compatriot to my research room of aesthetics and art history. At the same time, while doing his own research, Mr. Wang Zhuo exchanged views with me on the language problems in the translation of this book. This is how the Chinese translation of this book was completed. In this sense, this book can be said to be the "Japanese Bridge" that we made together.
This "bridge-building" action has also been greatly assisted by many friends in China. Professor Jiang Shuzhuo and the aforementioned Professor Li Xinfeng of the Chinese Department of Jinan University have kept in touch since giving lectures at Jinan University, and even became professors of Guangzhou Academy of Fine Arts. They also put forward many opinions on the translation of this book. The professors of Huizhou College and Mr. Wu, the planner of Huizhou Hakka Culture Festival, Mr. Yan, the calligrapher Li Jie, the professor and professor of Guangxi Normal University, the associate professor of Beijing Normal University (at that time) ... and the lady of the Foreign Affairs Office of Jinan University at that time, There are so many students and young teachers who listen enthusiastically and actively participate in the discussion ... There are so many China friends who gave me a lot of care when giving lectures in China-your enthusiasm and sincerity have supported this "bridge" from all directions. I would like to express my heartfelt thanks here.
The Chinese version of this book can be published in the world-famous commercial press, which also makes the author feel honored. In this "bridging" operation, Mr. Wang and Mr. Xu Yichun, who translated into the editing room, also made corrections, and I would like to express my heartfelt thanks.
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2005 1 month
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