现象学还原作为认识还原对审美还原的僭越——罗曼·英加登《论文学作品》对审美时间性的耽搁

Phenomenology Reduction as Cognitive Reduction Transcends Aesthetic Reduction:On the Delay of Aesthetic Temporality in Ingarden's The Literary Work of Art

罗曼·英加登的《论文学作品》贯彻了现象学还原的思想与操作,认为意向活动中的意识不仅可以作为剩余物在事后保留下来,而且这一意识所携带该意向活动的本质基因,可以在回忆与反思中得以保全与还原,从而以知识、认识混淆审美愉悦感,耽搁了对审美时间性的还原。第一,审美生活的意义或审美时宜被认识还原僭越。无时间性的知识作为剩余物可以在回忆与反思中得以保全,但审美生活作为感官之愉悦感却只能是原发性的,其审美时宜的显现是绝对时机化的,没有绝对剩余,只有相对剩余,只能进行相对的审美还原。第二,英加登拆解了审美生活在构成方式上的绝对同时性或绝对意向性,且以科学生活的相对意向性或相对同时性僭越之,继而把文学作品视为绝对自主之物,视为仅供回忆与反思的认识性客体,这势必造成其他审美时间性的消失。第三,英加登无视审美时间意识域作为注意力在持续形态上的单行道特性,也无视其审美时体的流畅特性,误以为超然的旁观态度可以与感官愉悦感并存、并置,并以此为文学作品本质的现象学还原搭桥、过渡。

Ingarden faithfully carries out the idea and operation of phenomenological reduction in The Literary Work of Art,the core of which is that consciousness can then remain as a remainder in intentional activity.This consciousness bears the essential gene of intentional activity,which can be preserved and restored in reminiscence and reflection,confusing aesthetic perception with knowledge and delaying the restoration of aesthetic temporality.First,Ingarden not only makes no distinction between the meaning of the scientific life and the aesthetic life,but also usurps the meaning of the aesthetic life with the scientific life,because timeless knowledge can be preserved as a remnant in reminiscence and reflection.The aesthetic life as a sense of pleasure,however,is one-off and idiopathic,and its meaning-timely manifestation is absolutely occasional and remnant-free.Second,Ingarden dismantles the absolute simultaneity or absolute intentionality of aesthetic life in the constitution and oversteps it with the relative intentionality of scientific life,and then regards literary works as absolutely independent things,as cognitive objects only for memory and reflection,which results in loss of the aesthetic life as a sense of pleasure,which in turn leads to the disappearance of other aesthetic temporalities.Third,Ingarden ignores the one-way characteristic of the aesthetic domain of time-consciousness as a continuous form of attention,and also ignores its fluency in aesthetic time and body.He believed that a distanced stance as an onlooker can coexist and be juxtaposed alongside the sense of sensual pleasure and can serve as a bridge and transition for the phenomenological reduction of the essence of literary works.