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    政大機構典藏 > 文學院 > 哲學系 > 期刊論文 >  Item 140.119/62832
    Please use this identifier to cite or link to this item: http://nccur.lib.nccu.edu.tw/handle/140.119/62832

    Title: 從內在超越到界域跨越─隱喻、敘事與存在
    Other Titles: From Immanent Transcendence to Cross-Bordering in Arts──Metaphor, Narrative and Existence
    Authors: 沈清松
    Shen, Vincent
    Contributors: 哲學系
    Keywords: 藝術界域;跨界域;欲望;隱喻;敘事文;多元他者
    Boundaries in Art;Cross-bordering;Desire;Metaphor;Narrative;Multiple Others
    Date: 2006-10
    Issue Date: 2013-12-20 17:46:31 (UTC+8)
    Abstract: 人的欲望含藏不可限定的意義動力,不斷發展並自行超 越,這是人由內在而超越的根源動力。所謂「內在超越」並非一種 唯心的過程,它起自欲望,發自身體,並在逐層上晴的發展過程裡 貫穿心靈與精神,並因此獲得提升與轉化。我們視身體為吾人欲望 的存在模態。由身體中的意義動力進而接近表象,起初是非語言性 的,然終究完成於語言表象。透過各種不同的非語言表象,身體中 的意義動力獲得特定化和分化,成為音樂、美術、舞蹈、戲劇.. 等等藝術形式。這些不同形式的藝術的共同源起,是取得可理解形 式的身體運動,至於它們彼此的差異,則在於所取得可理解形式的 不同,如聲音、圖象、姿態...... 等的性質與規律,並因其差異而興 起藝術與文化表現上的不同,乃至形成各種藝術的界域。電影藝術 綜合了音聲、圖像與身體運動,在時間之流中主現動像,藉以述說 各種故事。不同型態的藝術是「欲望的誘動者J '它們規定、明說並 導引了人對於意義的欲求。欲望中意義動力的發展是人在不同藝術 中得以跨越界域的基本動力。 故事的敘說已經進入了語言的表象,其基本特性是隱喻性的。過 去將學科跨界域的希望寄託於概念與邏輯推理和論證。如今,對於 語言的隱喻性質的了解,使得隱喻與敘事成為跨界域的線索,表現 在人文學科、社會科學,甚至自然科學之中。人生之所以有事件、 行動和情節可以建構成故事,是因為有我與多元他者的互動關係'其動力來自人不斷外推,且相互外推o 故事總是人與多元他者發生 的故事,且總是說來給多元他者聽的。藉著故事,我們見證了人生 的意義,但總是以隱喻的方式見證,並藉著相互說故事而彼此相互 豐富。終究說來,故事,無論真實或想像,是立基於關係的存有論, 其中我與他者,在關係中有自由,在自由中有關係。這也是人可以 不斷跨越界域的根本動力與基礎。
    This paper assumes that there is an undetermined dynamic energy for meaningfulness in human des ire, which develops and transcends any parti cular rea liza tion. This is the original energy by which human beings could attain transcendence by way of immanence, which is not an idea li st process, but rather ori ginated from a body-based des ire that develops upward s and fuller to integrate the mental and the spiritua l. Represe ntability, first non-linguisti c and then lingui stic, is the access to meaning for our desire that takes body as its mode of ex istence. Through di fferent forms of representation, such as sounds, pi ctures and gestures " ' etc., the project of meaning is spec ified. The movement of body in intelligible forms is the common origin of music, dancing and performative arts. Cultural di ffe rence and artistic boundaries are based upon di fferences in the nature and rule of these intelligible forms. The art of filming, which synthesizes image, music and body movement in presenting images moving in time so as to tell stories of various kinds. A 11 forms of art are “ inducers of des ire" by articul ating, determining and guiding our desire fo r meaning. This dynamic development of our desire for meaning is the common bas ic energy by which we can cross the borders of different arts. Story-telling presupposes lingui stic represe ntation accessible to our meaning dynamism. In the past, concepts and logica l reaso ning and argumentation were taken to be the hope for interdi sciplinary research But now, with the better understanding we have of the metaphoric nature of language, metaphors and narratives are taken to be the clue for a cross-bordering effort in different sciences, human, social and natural. If there are events, actions and plots in human existence to be constructed as stories, it is because there is always interaction with multiple others, the dynamism of it consisting in our incessant act of strangification and mutual strangification. Stories are always stories about one self with multiple others and told to multiple others. By telling stories, we witness a particular way of meaningful life, always metaphorical1y interpreted. We achieve mutual enrichment by telling stories to each other. The ultimate foundation of cross-bordering in arts and scientific disciplines consists in the ontology of dynamic relation, in which there is relatedness in freedom and freedom in being related, and this is the ground on which all our li fe stories, both real and imaginative, are based.
    Relation: 哲學與文化, 革新號3期, 21-36
    Data Type: article
    Appears in Collections:[哲學系] 期刊論文

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