| 论想象 |
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| 引用本文： | 张世英.论想象[J].江苏社会科学,2004(2):1-8. |
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| 作者姓名： | 张世英 |
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| 作者单位： | 北京大学哲学系教授,100871 |
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| 摘 要： | 想象的基本含义是飞离在场。西方哲学史上自柏拉图经康德到胡塞尔和其它一些现当代哲学家关于想象的观点的发展史是一个由贬低想象到重视想象、由贬低不在场到重视不在场的过程。本文从三个层次(回忆与联想,创造的想象,幻想)论述了想象在认识中和在审美中的重要作用。作者强调,审美意识的最高境界在于通过想象,以在场的东西显现出无限的不在场的东西,从而使鉴赏者玩味无穷:对事物的整体把握和认识在于通过想象,把无限的不在场的东西与在场的东西综合为一体,科学家也需要有非凡的想象力,包括幻想。
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| 关 键 词： | 想象 在场与不在场 飞离在场 共时性 逻辑上的不可能性 |
IMAGINATION |
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| Zhang Shiying.IMAGINATION[J].Jiangsu Social Sciences,2004(2):1-8. |
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| Authors: | Zhang Shiying |
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| Institution: | Zhang Shiying |
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| Abstract: | The basic meaning of imagination is flight from the present. In the history of Western philosophy, the development of views on imagination from Plato to Husserl via Kant is a transition from disregard of imagination and the absent to special emphasis on imagination and the absent. Imagination is divided into three classes: memory and association, productive imagination and fantasy. This article deals with various roles which imagination plays in cognition and aesthetic judgment. The author holds that in order to have a thorough grasp of an object or to have an appreciation of a work of art, we must integrate the absent and the present into oneness. |
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| Keywords: | imagination the present and the absent flight from the present simultaneity logical impossibility |
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