VAIZDUOTĖS AUTONOMIJA IR ESTETINĖ PATIRTIS.

The paper discusses the modern idea of imagination and its various transformations in the phenomenological conceptual frameworks of Edward Casey, Mikel Dufrenne and Vasily Sesemann. I would like to raise and critically assess questions regarding the role of imagination in our consciousness: whether...

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Published in:Problems / Problemos Vol. 90; pp. 103 - 115
Main Author: Jonkus, Dalius
Format: Article
Published: Vilnius University 2016
Online Access:View this record in EBSCOhost
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        10.15388/Problemos.2016.90.10138
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        atl: VAIZDUOTĖS AUTONOMIJA IR ESTETINĖ PATIRTIS.
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        au: Jonkus, Dalius
        affil: Vytauto Didžiojo universiteto, Filosofijos katedra, Donelaičio g. 52, LT-44261 Kaunas
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      keyword:
        aesthetic expression
        body
        imagination
        perception
        phenomenology
        Sesemann
        estetinė raiška
        fenomenologija
        kūnas
        Sezemanas
        suvokimas
        vaizduotė
      ab:
        The paper discusses the modern idea of imagination and its various transformations in the phenomenological conceptual frameworks of Edward Casey, Mikel Dufrenne and Vasily Sesemann. I would like to raise and critically assess questions regarding the role of imagination in our consciousness: whether imagination is a productive or reproductive activity; and how, if at all, aesthetic expression limits imagination. Casey criticizes Dufrenne for his attempt to unite imagination with aesthetic expression. He argues for the autonomy of imagination, but leaves the question of the relationship between imagination and perception unanswered. Dufrenne partially shares his theory of imagination with Sesemann. Both philosophers claim that imagination is a reproductive activity rather than a productive one in the sense that it is limited by the forms of the material a priori. In other words, aesthetic expression has to obey the principle of correlation between percipiens and perceptum. Creativity becomes possible when the creator is able to reproduce in his expression another subject's possible perceptivity. Sesemann accentuates the primacy of embodied imagination in his aesthetics. He believes that the necessary correlation between the object and the subject is born in the movement of embodied imagination. The fact that imagination is an embodied phenomenon is illustrated by the way it exists in the world, since imagination is essentially a free activity restricted only by "the style of the world's horizon."
        Straipsnyje analizuojamos moderniosios vaizduotės sampratos transformacijos fenomenologinėse Edwardo Casey, Mikelio Dufrenne'o (1910-1995) ir Vosyliaus Sezemano (1884-1963) koncepcijose. Straipsnio tikslas - parodyti, kad estetinėje patirtyje akivaizdžiai atsiskleidžia kūniškas vaizduotės pobūdis. Casey kritikuoja Dufrenne'o bandymą vaizduotę susieti su estetine raiška. Jis pabrėžia vaizduotės autonomiją, tačiau tokiu atveju lieka neaiškus vaizduotės ir suvokimo santykis. Dufrenne'o ir Sezemano pozicija vaizduotės klausimu iš dalies sutampa. Abu jie teigia, kad vaizduotė yra ne produktyvi, bet reproduktyvi ta prasme, kad ji yra apribota materialinio a priori formomis. Kitaip sakant, estetinė raiška yra negalima, jeigu ji nesilaiko suvokiamojo ir suvokiančiojo koreliacijos principo. Sukurti galima tik reprodukuojant išraiškoje kito suvokimo galimybę. Sezemanas pabrėžia kūniškos vaizduotės pirmumą. Įkūnytas vaizduotės judesys atskleidžia būtiną objekto ir subjekto koreliaciją. Vaizduotės kūniškumas pabrėžia buvimo pasaulyje pirmumą, nes vaizduotė yra laisva veikla ir ją riboja tik „pasaulio horizonto stilius“.
      pubtype: Academic Journal
      doctype: Article
      src: R
    language: Lithuanian
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