于屏障中得明见——论南希的电影理论及其渊源

Attaining Evidence from Barzakh: Jean-Luc Nancy’s Film Theory and Its Origin

借由阐发阿巴斯·基亚罗斯塔米的作品,让-吕克·南希揭示出电影的明见维度,即持续出离自身的敞露运动。由于明见性预设了复数化的伴随存在,它便不可避免地涉入有关尺度或正确距离的伦理领域。因此,电影的明见性亦内蕴着以尊重与复能为主旨的观看伦理。然而,南希对明见性的理解并非完全来自于现象学脉络,在解构论与阿巴斯影片的核心处回荡着苏菲主义的余音,后者的屏障概念构成了南希与阿巴斯在本质上的亲缘性。

Through elucidating the films of Abbas Kiarostami,Nancy reveals the evidential aspect of film,namely the self-interruption movement of exposition.As evidence presupposes a plurality of l’être-avec,it inherently engages with ethical realm concerning measure or the distance juste.Thus,the evidential aspect of film also implicates an ethical of viewing centered on respect and potentiality.However,Nancy’s understanding of evidence does not solely stem from phenomenological contexts,echoes of Sufism resonate in the deconstruction and the films of Kiarostami,where the concept of Barzakh in Sufism constitutes the fundamental affinity between Nancy and Kiarostami.