本文關(guān)鍵詞：論梅洛—龐蒂視域下的深度視覺觀　出處：《華東師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 深度 身體 肉 繪畫 本體論

【摘要】：深度視覺是如何形成的?本文試圖借梅洛-龐蒂的視角去關(guān)注該問題。與傳統(tǒng)哲學(xué)不同,梅洛-龐蒂?gòu)默F(xiàn)象學(xué)的角度,以身體、知覺為基礎(chǔ)對(duì)該問題展開了分析。在《知覺現(xiàn)象學(xué)》中,首先他針對(duì)笛卡爾和貝克萊的解釋予以批評(píng),指出雖然二者的具體觀點(diǎn)不同,但他們的觀點(diǎn)都是建立于主客二元對(duì)立的基礎(chǔ)上的。梅洛-龐蒂則把深度視覺理解為是身體圖式在世界中的展開,立足于身體與世界的處境性關(guān)系。在《眼與心》中,他批評(píng)了現(xiàn)代科學(xué)的絕對(duì)人工主義,它使我們脫離了生活世界中的感性經(jīng)驗(yàn)。梅洛-龐蒂肯定了畫家式的視看,這種視看扎根于原初的視覺體驗(yàn),將深度理解為存在的顯現(xiàn)。在《可見的與不可見的》中,他明確了"肉"的概念,"肉"體現(xiàn)了主體與世界的交織,進(jìn)一步從本體論的角度去論述深度。繪畫藝術(shù)始終把探尋深度作為目的之一,繪畫的歷史可以說(shuō)是一部表現(xiàn)深度的歷史。梅洛-龐蒂對(duì)繪畫藝術(shù)有著較高的關(guān)注,文本試圖借其在《塞尚的疑惑》、《間接的語(yǔ)言和沉默的聲音》、《眼與心》中結(jié)合繪畫藝術(shù)討論深度的部分,并結(jié)合具體的繪畫作品,從藝術(shù)的維度切入對(duì)深度問題展開進(jìn)一步的分析。梅洛-龐蒂?gòu)默F(xiàn)象學(xué)的角度,立足于主體與世界原初的親密關(guān)系,對(duì)深度視覺給予了有效的解釋。具身認(rèn)知哲學(xué)吸取了梅洛-龐蒂的知覺現(xiàn)象學(xué)的思想,并結(jié)合現(xiàn)代心理學(xué)和科學(xué)的研究,對(duì)深度視覺的解釋受到了不少認(rèn)同。面對(duì)具身認(rèn)知的強(qiáng)勢(shì)推進(jìn),梅洛-龐蒂對(duì)該問題的解釋是否已經(jīng)過時(shí)了?具身認(rèn)知哲學(xué)中的代表人物阿瓦·諾伊在《生成的知覺》中提出感知運(yùn)動(dòng)理論,從身體與環(huán)境的交互關(guān)系中去探討深度視覺問題,然而他的解釋從根本上來(lái)說(shuō)仍然是從主客二元對(duì)立的框架下展開的。與梅洛-龐蒂相比,他并未深入到本體論的層面去探究該問題,并未揭示出深度作為世界顯現(xiàn)的根本奧秘。
[Abstract]:The depth of vision is how to form? This paper attempts to use the Melo Ponty perspective to pay more attention to the problem. Different from the traditional philosophy, Melo Ponty from the phenomenological point of view, to the body, perception on the basis of analyses the problem. In "phenomenology of perception", he explained to Descartes and Bekele first the criticism points out that although the specific point of view of the two different, but their views are based on subjective and objective two opposite. The Melo Ponty put depth vision is interpreted as the body schema expansion in the world, based on the situation of the relationship between body and the world. "In the eye and heart", he criticized the doctrine of absolute Manual of modern science, it makes us from the perceptual experience of the world of life. Melo Ponty affirmed the view of the visual artist, rooted in the original visual experience, the depth of understanding for the existence of the show. "In May See and not visible ", he defined the concept of" flesh "," meat "embodies the intertwined with the world body, further from the ontological perspective to discuss the depth. The art of painting has always been to explore the depth as one of the aims of the history of painting can be said to be a manifestation of the depth of the history of Melo. Ponty has a high attention to the art of painting, the text try to borrow Cezanne's doubts in < >, < indirect language and the voices of silence", "combination of eye and heart in depth discussion > painting part, combined with the specific paintings, from the artistic point of view, further analysis of the depth Melo Ponty. From the perspective of phenomenology, the close relationship between the subject and the world based on the original, give a valid explanation of visual depth. Embodied cognition philosophy from perceptual phenomenon Melo Ponty's theory, combined with modern psychology and scientific research The depth of visual interpretation by a lot of identity. In the face of embodied cognition to promote a strong, Melo Ponty explanation of the problem is outdated? The perceived motion theory of embodied cognition in philosophy representative of AVA in Illinois < generation perception ", to explore the depth of visual problems from interaction the relationship between the body and the environment, but his explanation is still fundamentally from the framework and the two opposite conditions. Compared with the Melo Ponty, he did not go deep into the level of ontology to explore this problem, have not revealed the depth as the fundamental mystery of the world show.

【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：B089

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