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  本文關(guān)鍵詞： 身體 意義 感覺 表層　出處：《復(fù)旦大學(xué)》2004年博士論文　論文類型：學(xué)位論文

【摘要】：德勒茲是當(dāng)代法國著名的哲學(xué)家,其思想風(fēng)格多樣,涉及領(lǐng)域廣泛,概念和 理論也往往獨辟蹊徑。因此,要從如此五光十色的思想聚合體中清理出一條線索 對其思想進(jìn)行系統(tǒng)、深入地評介,必須要選擇一個恰當(dāng)?shù)某霭l(fā)點。 我們的出發(fā)點就是“審美經(jīng)驗”和“身體”這兩個概念,這種選擇是出于德 勒茲哲學(xué)的內(nèi)在發(fā)展線索和美學(xué)史發(fā)展的邏輯兩個基本的考慮。首先,德勒茲始 終強調(diào)自己的哲學(xué)是“徹底的經(jīng)驗主義”,因此,強調(diào)對身體和生命層次的經(jīng)驗 的關(guān)注,強調(diào)概念必須與經(jīng)驗緊密關(guān)聯(lián),闡述經(jīng)驗內(nèi)在的“邏輯”一直是德勒茲 哲學(xué)的最基本的出發(fā)點。而在對“經(jīng)驗”的關(guān)注中,審美經(jīng)驗的問題又毫無疑問 構(gòu)成了其哲學(xué)思索的一個非常重要的方面,這體現(xiàn)在他的基本的概念之一“思想 -意象”就是強調(diào)哲學(xué)與藝術(shù)的一種互動與作用而創(chuàng)造出一種“具體性的思想”。 而選擇身體問題作為出發(fā)點的另一個明顯的原因就是,德勒茲的哲學(xué)的一個特征 就是新創(chuàng)的概念繁多,而“身體”這個概念則幾乎與其所有的基本的概念都存在 著內(nèi)在的關(guān)聯(lián);另一方面,從身體出發(fā)還可以構(gòu)建出“內(nèi)在性的平面”,使所有 的這些概念之間產(chǎn)生出一種新的聯(lián)系。而從哲學(xué)史和美學(xué)史的角度來看,美學(xué)的 誕生正是源自對不同于精神和概念領(lǐng)域的身體層次本身的活生生的經(jīng)驗的關(guān)注 和反思,這是美學(xué)在領(lǐng)域上的獨特性;而從方法上說,美學(xué)的獨特的中介性又使 得它能夠成為不同的領(lǐng)域和層次之間的一種溝通的橋梁和途徑。 因此我們的基本的思路就是:在第一章“導(dǎo)言”中,我們先大致分析了一下 審美經(jīng)驗這個概念的內(nèi)涵,但因為我們的研究主要還是關(guān)注德勒茲哲學(xué)本身的邏 輯發(fā)展,所以我們就挑選了美學(xué)史上對身體層次的審美經(jīng)驗進(jìn)行過比較深入的思 索的哲學(xué)家之一——尼采的思想作為一個思索的出發(fā)點:尼采提出的對“身體” 層次的“多”的經(jīng)驗的“信仰”和肯定,以及把藝術(shù)創(chuàng)造作為對這種“多”所進(jìn) 行的“表現(xiàn)”的手段,這兩點也是貫穿我們整個寫作計劃的最基本的線索。 在第一章中,我們研究了德勒茲對身體進(jìn)行思索的真正起點、也是其哲學(xué)思 想的奠基之作,《意義的邏輯》。我們主要研究了其中作為身體-語言的“表層” 和“邊沿”而生成的“意義”的思想。身體-語言的問題最早是在《意義的邏輯》 出版之前的論 Klossowski 的一篇論文中提出的,但那里只是提出了身體和語言 作為差異系列的相互作用,而并沒有真正揭示出這種作用得以進(jìn)行的“場所”和 “機制”。在《意義的邏輯》中,他則進(jìn)一步提出身體的“表層”作為“意義” 生成的場所。我們同時批判了在身心關(guān)系上的兩個基本的傳統(tǒng)哲學(xué)的誤解:一是 因果論,把身體的“意義”和“表現(xiàn)”的層次還原到身體的物理和生理的運動與 WP=6 規(guī)律(“深層”);二是柏拉圖的精神賦予身體以秩序的理論(“高層”)。顯然這兩 者都偏離了身體進(jìn)行“表現(xiàn)”的內(nèi)在的平面。真正的“意義”的生成是在身體- 語言的“表層”:處于“表層”的是“虛因”與“事件”。 接下來我們要結(jié)合斯賓諾莎的哲學(xué)來分析“表現(xiàn)”這個概念,我們先分析了 一下這個概念的哲學(xué)史背景,主要是與柏拉圖的“分有”、普羅提諾的“流溢” 的區(qū)別。然后分析了以往的身心二元論用同一性的表象框架排除了身體經(jīng)驗的生 成運動的特征,這主要導(dǎo)致了笛卡兒的“感覺”理論的困境。然后我們分析了斯 賓諾莎“表現(xiàn)”這個概念的兩個基本的規(guī)定性:內(nèi)在性和均在性。內(nèi)在性指“表 現(xiàn)者”和“表現(xiàn)”通過“意義”的環(huán)節(jié)相互內(nèi)在的關(guān)系;均在性則是說“表現(xiàn)” 總是通過差異的系列而無限拓展的。然后我們分析了藝術(shù)史上的“表現(xiàn)”這個概 念的悖論(主要體現(xiàn)于浪漫派藝術(shù)),還進(jìn)一步介紹了德勒茲論述過的文學(xué)中的 “表現(xiàn)”的機制(普魯斯特、卡夫卡)。 第三章中我們要進(jìn)入身體的“表現(xiàn)”的向度,而這主要是通過對德勒茲的《感 覺的邏輯》一書的解讀而提出的:首先我們論述了繪畫中的“意象”的邏輯總是 “事件”的邏輯,即從事實性向事實的可能性的轉(zhuǎn)化(或者相反,是后者在事實 層次的實現(xiàn),但我們主要思索前一點)。而“感覺”的邏輯正是這種轉(zhuǎn)化的過程: 感覺的運動包括兩個相互不可分離的層次,即繪畫中的意象和身體層次的感覺, 而貫穿這種運動的正是“不可見的力”和“時間性”的涌現(xiàn)。從“意象”自身來 說,培根的畫中總是表現(xiàn)了身體從意象中涌現(xiàn)的過程;從“感覺”來說,它是“意 象”自身所表現(xiàn)的“力”在身體層次的繼續(xù)的運動,因此,是對“意象”所表現(xiàn) 的“意義”繼續(xù)創(chuàng)造�！案杏X”的運動就體現(xiàn)在穿越身體不同層次的“共振”,對 界限分化的“器官”和“機體”的超越,而這一點德勒茲通過“無器官的身體” 來描述。最后,我們分析了一下梅洛-龐蒂的身體現(xiàn)象學(xué)的不充分性及其后期的 向藝術(shù)問題的轉(zhuǎn)化。我們還進(jìn)一步分析了傳播學(xué)中的“媒體”作為感覺之間關(guān)聯(lián) 的建立和重組的“平面”的特性,揭示了德勒茲感覺理論的現(xiàn)實意義。 在結(jié)論中,我們并沒有簡單地重復(fù)前面的論述,而是試圖以我們從德勒茲的 身體、感覺理論中所挖掘出來的基本思想來進(jìn)一步地分析一下我們時代的“身體 狀況”。我們集中于兩個基本的領(lǐng)域:大眾消費和網(wǎng)絡(luò)的虛擬空間,因為它們的 共同特點都是關(guān)注、
[Abstract]:Deleuze, a famous contemporary French philosopher, has a wide range of fields, concepts and concepts.
The theory is often inventive. Therefore, to clean up a clue from the thought of the polymer so resplendent with variegated coloration
It is necessary to choose a proper starting point for the systematic and in-depth evaluation of its ideas.
Our starting point is the two concepts of "aesthetic experience" and "body". This choice is based on virtue.
The inner development clues of Lez's philosophy and the logic of the development of aesthetic history are two basic considerations. First, Deleuze
The end emphasizes that one's philosophy is "thorough empiricism" and, therefore, emphasizes the experience of the body and the life level.
It emphasizes that concepts must be closely related to experience, and that the internal "logic" of experience is always Deleuze
The basic starting point of philosophy, and in the attention of "experience", the problem of aesthetic experience is no doubt
It constitutes a very important aspect of his philosophical thinking, which is reflected in one of his basic concepts, "thought.
Image "is to emphasize the interaction and function of philosophy and art to create a" concrete idea ".
Another obvious reason for choosing the body as a starting point is a feature of Deleuze's Philosophy
It is a variety of new concepts, and the concept of "body" is almost all of its basic concepts.
On the other hand, on the other hand, the "inner plane" can be built from the body, so that all
There is a new connection between these concepts. From the point of view of the history of philosophy and the history of aesthetics, aesthetics
Birth is derived from the living experience of the body itself, which is different from the spiritual and conceptual areas.
And rethinking, this is the uniqueness of aesthetics in the field; and, in a way, the unique mediator of aesthetics
It can be a bridge and way of communication between different fields and levels.
So our basic idea is: in the first chapter, "Introduction", we first roughly analyze it.
The connotation of the concept of aesthetic experience, but because our research is mainly concerned with the logic of Deleuze's philosophy itself
We have chosen the aesthetic experience in the history of aesthetics to think more deeply about the aesthetic experience of the body level.
One of the philosophers of the cable - Nietzsche's thought as a starting point for thinking: Nietzsche's "body"
The "belief" and affirmation of the "multi" experience of the hierarchy and the creation of art as the "many"
The means of performing "performance" are the most basic clues that run through our entire writing program.
In the first chapter, we study the real starting point of Deleuze's thinking on the body, and also his philosophical thought.
To the foundation of the logical meaning. ", we mainly study the body language as" surface"
The idea of "meaning" generated by the "edge". The problem of body language is first in the logic of meaning.
It was put forward in a paper before the publication of the Klossowski, but there was only the body and the language.
As the interaction of the difference series, it does not really reveal the "place" and the "place" of this effect.
"Mechanism". In the logic of meaning, he further puts forward the "surface" of the body as "meaning"
At the same time, we also criticize the two basic misconceptions of traditional philosophy in the relationship of body and mind: one is
The theory of causation restores the body's "meaning" and "expression" to the physical and physical movements of the body and the physical and physical movements of the body.
WP=6
Law ("deep"); two is the theory that Platon's spirit endows the body with the theory of order ("high level"). Obviously this two
Both deviate from the inner plane of the body to perform "expression". The real "meaning" is generated in the body -
The "surface" of language: the "surface" is the "virtual cause" and "the event".
Then we are going to analyze the concept of "expression" with Spinoza's philosophy, and we first analyze it.
The concept of the history of philosophy background, mainly with Platon's "a", Plo Tino's "flush"
The difference between the body and the body's physical experience is then analyzed.
The characteristics of the motion, which mainly led to the dilemmas of Cartesian's "sense" theory, and then we analyzed it.
Two basic provisions of Spinoza "performance" of the concept of intrinsic and all. "Refers to the inner table
The relationship between "present" and "expression" through the link of "meaning"; all in sex is "expression".
It is always extended through the series of differences. Then we analyze the "expression" in the history of art.
The paradox of reading (mainly embodied in the romantic art) is also a further introduction to Deleuze's literature.
The mechanism of "expression" (Proust, Kafka).
In the third chapter, we have to enter the body's "expression", and this is mainly through the sense of Deleuze's < feeling.
The logic of sense > An Interpretation of a Book: first we discuss the logic of "image" in painting.
The logic of "events", the transformation of the possibility of fact from fact to fact (or, on the contrary, is the fact that the latter is in fact. "
The realization of the level, but we mainly think about the previous point. And the logic of "feeling" is the process of this transformation.
The movement of feeling consists of two interrelated levels, that is, the image in the painting and the feeling of the body level.
The movement through this movement is the emergence of "invisible force" and "time". From "image" itself
Bacon's painting always shows the process of body emergence from the image; from "feeling", it is "meaning".
The movement of the "force" as manifested by itself at the level of the body, therefore, is manifested in the "image"
The "sense" continues to create. The movement of "feeling" is reflected in the "resonance" across the different levels of the body.
The dividing line of "organ" and "body" is transcendental, and this point Deleuze passes through the "body free body".
In the end, we analyze the inadequacy of Melo Ponty's physical phenomenology and its later stage
We have further analyzed the "media" in communication as a relationship between feelings.
The characteristics of the "plane" of the establishment and reorganization reveal the realistic significance of Deleuze's feeling theory.
In the conclusion, we do not simply repeat the previous argument, but try to take us from Deleuze.
The basic ideas that have been excavated in the theory of body, sensation, to further analyze the "body" of our times.
We focus on two basic areas: mass consumption and the virtual space of the network because of their
The common features are all concerns.

【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2004
【分類號】：B83-06

【引證文獻(xiàn)】

相關(guān)期刊論文 前2條

1 王海峰;;試論舞蹈作品中的個性化人物的塑造[J];佳木斯教育學(xué)院學(xué)報;2011年03期

2 張子杰;盧章平;;淺談虛擬藝術(shù)[J];山花;2010年06期

相關(guān)博士學(xué)位論文 前2條

1 宋新娟;中醫(yī)傳統(tǒng)圖式符號審美及應(yīng)用研究[D];武漢理工大學(xué);2010年

2 鄭仕一;身體的文化書寫[D];中央民族大學(xué);2010年

相關(guān)碩士學(xué)位論文 前1條

1 殷s，

本文編號：1538872