客观性与交互文化的经验

在文化接触中摆脱偏见并建立严格的客观性是文化交往理论的努力目标,遗憾的是当代思想屡屡在此失足。利用胡塞尔构造现象学的资源,以交互主体性、意向性、生活世界和自属性等概念为启发性类比的关节点,可以创造性地提出一条通向“情境客观性”的道路。     

Kinesthesia,Synesthesia and Le Sacre du Printemps: Responses to Dance Modernism

ABSTRACT

“Kinesthesia, Synesthesia and Le Sacre du Printemps: Responses to Dance Modernism” discusses the reception of Vaslav Nijinsky's controversial choreography to Igor Stravinsky's Le Sacre du Printemps (1913) in the light of kinesthesia, or movement sense, and synesthesia or the merging of the senses. Dr. Järvinen argues that the invention of kinesthetic sense and particularly the theory of expression linked with this notion, kinesthetic sympathy, were historically and culturally specific responses to increasing abstraction as a goal in the arts, also seen in Le Sacre du Printemps, a work aiming to produce synesthetic experiences in the spectators.     

Georg Simmel and Erving Goffman: Legitimators of the Sociological Investigation of Human Experience

By originating and developing the sociological investigation of human experience, Georg Simmel and Erving Goffman have shifted social phenomena at the edge of awareness to the center of attention, and have legitimated their study for contemporary sociologists. Both Simmel and Goffman describe these subtle social phenomena by distinguishing their perceptual boundaries and crossover elements, pointing out their common features when their statuses differ, and reversing their traditional location in means-end and cause-effect chains. But Durkheim's influence on Goffman's basic conceptions of interaction, individual, and society differentiated his interpretation of these social phenomena from Simmel's. Moreover, Simmel's and Goffman's explanations of these social phenomena evolve in different directions, revealing the antithetical goals toward which spiritual transcendental Simmelians and cynical reductive Goffmanians would lead sociology.     

后现象学思想解惑--唐·伊德技术哲学的实用主义与解释学维度

用胡塞尔先验现象学的立场来理解作为技术哲学的后现象学,这是对唐·伊德思想的一种误解。由于在悬置和变更等基本概念上与胡塞尔现象学出入甚大,后现象学只能算是一种修正主义的现象学;在哲学观和技术观上,后现象学更多地是汲取了杜威实用主义的观点;利科的解释学及对文本概念的广义理解,决定了后现象学必然是一种以探究人工物的意义为旨归的物的解释学。在理解伊德技术哲学时,实用主义和解释学是两个重要、但被忽略的维度。     

技术现象学视阈下的身体与技术

从技术现象学的视角看,身体和技术并非二元对立的客体性的存在,而是双向地交互影响着。一方面,身体以其结构和功能影响着技术,表现为“身体化的技术”;另一方面,技术愈加贴近身体,甚至内化于身体之中,表现为“技术化的身体”。技术是身体的第二自然,身体是技术的有机构成,身体与技术相互交融,彼此互塑。身体与技术的关系给我们的启示是,要跳出传统的主客二分的思维模式,从实体性思维转向关系思维,从概念思维转向实践思维,从静态思维转向动态思维,从名词思维转向动词思维。     

谁是凡·高那双鞋的主人——关于现象学视野下艺术中的真理问题

海德格尔弄错了凡.高名画《鞋》的主人,从而在凡.高自己的鞋中直观出了一个农妇的世界。这个错误,使得"存在的真理在艺术作品中自行发生"成为一个谎言。它的发生显露了现象学方法在解释艺术文本时的局限性:理论家本人的体验与想象被强定为艺术作品的"真理"。错误产生的根源在于,现象学要研究的是意识的意向性活动,而艺术作品本身并不是意向性活动的产物,而是利用自身与世界的符合关系规定着意向性活动,如不服从这一"规定",就会导致对艺术作品的过度体验。现象学把个体性的审美经验的发生等同于"真理",这就使审美经验的个体性被放大为艺术作品的本质性内核,而这种个体性经验在被还原为作品的本源时缺乏说服力。因此,现象学真理观在解释艺术作品的内涵时,是不恰当的。     

《周易》时间问题的现象学探问

《周易》时间问题是一个烦难的问题,也是一个为今天的易学研究所忽视甚至遗忘的问题。其实,《周易》是先秦古籍中最集中而深致地关注与论述时间问题的一部典籍。其时间观,是在原始文化的人文土壤中滋生出来的,具有独特的人文素质、品格与精神。《周易》的筮符结构就是它独特的"时"结构;而所谓"命运",表述的是一种处于神性时间与人性时间之际的巫性时间。"知几,其神乎"正是《周易》对这种巫性时间的趋于哲理内涵的追问。它显示了一种现象学的意义。用现象学的理论与方法,努力对周易时间观作深度解读,以"在"的提问会应《周易》"时"的价值与意义,在反思与批评中揭橥《周易》时间观特点。在众多的巫术文化中,唯有《周易》巫筮转嬗、成长为以哲理、伦理为主的史文化,这与它的巫性时间观有着密切的人文联系。     

美国现象学心理学兴起的历史解析

美国现象学心理学从 2 0世纪中叶逐步形成与发展 ,它以现象学为理论背景 ,树立对心理学的基本态度 ,同时从现象学思想中引进、采用和发展出现象学心理学的方法及程序 ,把从现象学思想中吸取的基本原则在实际心理学研究中灵活、有效地加以贯彻 ,实现以现象学的方式突破传统心理学中自然主义的桎梏 ,以期获得对心理现象更充分和更真实的理解 ,并借此开展对心理学具体问题的探索。     

Strawberry feel forever: understanding metaphor as sensorimotor dynamics

ABSTRACT

Metaphor is a useful way of explaining how to do things. The literature on metaphor in the learning of physical skill has generally explicated its efficacy by examining its actionable directives for motor enactment. And yet from the perspectives of phenomenological philosophy, ecological psychology, and enactivism, action is immanently intertwined with perception, so that models of metaphor-based learning should foreground the role of sensory activity modulating motor behavior. As such, metaphor is retheorized as a sensorial constraint one imaginarily projects into one’s action–perception phenomenological landscape. I present two metaphors from an instructional video on cello technique. Whereas these metaphors are couched in action language (what one should do), their potential impact, I argue, lies in emergent goal sensations (what one should feel). These explorative sensorimotor accommodations may, in turn, bring forth yet new scopes of latent sensations coupled to unanticipated performance possibilities, which suggest further modifying and calibrating enactment in the target domain. Attending to, achieving, and maintaining emergent intermediary goal sensations regulates instrumented action by forging new affordances that bring forth new motor coordination. As teacher and student co-imagine images for action, they should attend to sensory perceptions. And the same goes for scholars of metaphor.     

胡塞尔现象学的理论开端

胡塞尔的现象学由于其独特的思维方式和思想多变性常常令人不易理解。对胡塞尔现象学的理论开端进行审视，是把握他的思想脉络的一个重要途径。本文从三个方面对胡塞尔现象学的开端进行了分析：第一，现象学的总体特征是思维的直观性，追求“面对实事本身”；第二，现象学的逻辑起点是反对自然主义和心理主义，坚持一种观念主义的立场；第三，意向性是现象学的理论出发点和基础概念，澄清意向性的三结构：自我、意向对象、意向活动，有助于深入理解整个胡塞尔现象学的内涵。