مايكل دوفران: يك نگاه پديدارشناختي به اپراي تريستان و ايزولده اثر واگنر

Mikle Dfrenne: A Phenomenological approach to Wagner’s Tristan and Isolde Opera

چكيده ابژه ي زيبايي شناختي از جمله مباحث بحث برانگيز در حوزه ي زيبايي شناسي جديد است. در اين مقاله، ديدگاه ما كيل دوفران كه از مهم ترين چهره هاي پديدارشناسي كلاسيك هنر است، به اجمال توصيف مي شود. نگارنده مقاله، ابتدا به طور مختصر آرا دوفران را دربار هي هنر مطرح ميكند. سپس، رابطه ي اثر هنري با ابژه ي زيبايي شناختي و تفاوت اين دو را بيان مي كند. و در پايان با يك نگاه پديدارشناختي به بررسي اپراي تريستان و ايزولده اثر واگنر با روش توصيفي و تحليلي مي پردازد. و در پايان چنين نتيجه گيري ميشود كه تحليل پديدارشناختي ابژ هي زيبايي شناختي تنها از طريق تحليل اثر هنري ممكن است. اثر هنري براي درك شدن بايد اجرا شود. از نظر دوفران اجرا، ويژگي اثر يا استاد را آشكار ميكند. اجرا آزاد از حسي است كه اجراكننده نشان مي دهد. حتي اگر اجرا چيزي به اثر اضافه نكند در هرصورت، اجرا ضروري است به اين معنا كه تا اثر هنري اجرا نشود و تماشاگري با آن روبه رو نشود اثر هنري كامل نشده و ابژه ي زيبايي شناختي هم آشكار نشده است. اثر با اجرا كامل مي شود و حتي وجود آن آشكار مي شود و از طريق اجرا حقيقت اثر را هدف قرار مي دهيم و اين حقيقت ما را راهنمايي ميكند

Abstract Mikel Dufrenne of the most important figures in the art of classical phenomenology. His voluminous book on the phenomenology of aesthetic experience has created a fundamental shift in aesthetics. The development continued and formed a book about poetry. Phenomenology of aesthetic experience Dufrenne books on modern philosophy, as well as events, notably the second joint of the French as “phenomenology”, and only in terms of Merleau-Ponty’s phenomenology of perception takes precedence. Dufrenne course of Moritz Geiger and his emphasis on the experience of aesthetic pleasure in phenomenological psychology, Roman Ingardn and his emphasis on the role of art in shaping the actions of intentionality is sufficient; Sartre and Merleau-Ponty’s work is well-read. The aesthetic object is a controversial subject in the recent aesthetics field. In this article the Dufrenne point of view would be described as the most famous philosopher in phenomenology of art briefly. The author is going to consider Dufrenne things on art in summary. Then the author brings of the relationship and different between work of art and aesthetic object at the end of article we will survey the Tristan and Isolde opera why descriptive manner in a phenomenological approach. In the result we will find the phenomenological analysis on aesthetic object. We would be possible through work of art analysis in order to understand, the work of art must be performance. In Dufrenne view, the performance reveals the work or master property. The performance is indepens feeling which performer shows in work even if the performance doesn’t add anything to work. The performance is necessary because when the work of art is performed spectator is encountered with it. In the stage the work of art is completed and aesthetic object will be reveal. The work completed by performance and we can claim that the being and fact of work of art will be revealed and aimed. These facts lead us to aesthetic object. Audience participation is trying to work for their release. Public aesthetic object needs. We are aware of the fact that it has not offered entirely absent. The only artist to have his say because he creates them. On the other hand the artist loves his work be judged by others and must pass this way. Artist could not be left to the judgment of others. When it takes effect, the evidence of this expectation is the fact that it is there for us? Simultaneously, the effect is understood by the audience. Unlike conventional aesthetic object, the object can not be proven to be obvious. The author wishes to reveal the work of art, not necessarily the “I” will be revealed. Performed in front of an audience in which it occurs. So we really can say that the audience somehow is implementing. Attendance is implementing the same task. That should work as a performer to surrender and be faithful