杜夫海纳的纯粹知觉意向性与现象学还原

Dufrenne’s Pure Perception Intentionality and Phenomenological Restoration

杜夫海纳认为审美对象是纯粹知觉对象。从现象学的角度看,这是经现象学还原而达到的具有主客关系本源性的意识结构,本文称之为"纯粹知觉意向性"。在现象学还原问题上,杜夫海纳受到了胡塞尔、海德格尔、梅洛-庞蒂的多重影响,而又有自己独到的发挥和创见,这主要表现为,他把还原看作是由纯粹知性意识(胡塞尔)、经知觉意识(梅洛-庞蒂)到纯粹知觉意识的回溯,即回到知觉主体与世界的根源处。这种回溯表现在意识活动方面,就是走向感性,并外化为对象,杜夫海纳称其为"异化";而表现在意向对象方面则是,在悬置外部世界的同时,审美对象从非现实转化为现实的"现象",即在呈现中被给予和被还原的感性的对象,杜夫海纳称其为"中立化"。

Mikel Dufrenne held that the aesthetic object is a pure object of perception. From the perspective of phenomenology, this is the perception structure characterized by subject-object origin achieved through phenomenological restoration. As far this restoration is concerned, Dufrenne, though influenced by many other philosophers like Husserl, Heidegger and Merleau-Ponty, had his own expounding and original ideas. He regarded restoration as tracing back to pure perception intentionality, i.e., back to the subject of perception and the origin of the world. In terms of conscious activities, it means going towards sensibility, which is externalized as object, while in the case of object of intention, the aesthetic object turns from non- reality into realistic ＂phenomenon＂. Dufrenne termed the former as ＂alienation＂ and the latter as ＂neutralization＂.