اثر هنری در مقام یک جور ساختار آگاهی:مقدمه‌ای پدیدارشناختی درباره چیستی امر هنری

مسئله اساسی در پدیدارشناسی استعلایی ادموند هوسرل،در همه دوره‌های تفکری که به او نسبت داده‌اند، بحث درباره بنیان یقینی دانش است. پژوهش حاضر تلاشی برای به کار بردن آنچه ادموند هوسرل از دانش یقینی افاده کرده بود به اعتبار امر هنری است. از آنجایی که هر بحثی درباره پدیدارشناسی استعلایی به یک معنا بحث درباره نحوه دادگی چیزها بعنوان هستی‌هایی بدنمند،برای سوبژکتیویته،و بیناسوبژکتیویته‌های به لحاظ بدنی موقعیت یافته در جهان است، هدف ما در این پژوهش مشخص کردن رابطه میان این دادگی بدنمند و موقعیت یابی بدنی با اثر هنری،و از این طریق ارائه فهمی پدیدارشناسانه از چیستی اثر هنری متناسب با پدیدارشناسی استعلایی ادموند هوسرل است. ما برای این کار از طریق گرد آوردن مجموعه‌ای از داده‌های ممکن در ادبیات فلسفی ادوند هوسرل،و برخی از مفسرانش، هدف خودمان را دنبال کرده‌ایم. در این راه، برای تبیین چیستی اثر هنری بعنوان محتوای یک جور رابطه پدیدارشناختی میان هنرمند و هستی مادی اثر هنری از روشی توصیفیتحلیلی استفاده شده است.براساس نتایج بدست آمده، اثر هنری یک جور حاضر سازی روی‌آوردی جهان در یک جور روی‌آورندگی هنرمندانه است.به طوری که هر اثر هنری یک جور حاضر سازی روی‌آوردی بدنمند جهان است آنطور که در تجربه روی‌آوردی هنرمند دیده شده است.این در مغایرت کامل با تئوری‌های بازنمایی قرار می‌گیرد.

the artwork as a structure of consiousness: an introduction on what Art is

When we are talking about artwork, what are we talking about? Is the meaning of art as a kind of accurate representation of the world as realists may believe it, or are we talking about extrapolation to human psychological states that, as an artist, evaporates from its psychological state? Each of these questions will inevitably lead us to believe in a form of representation of something original and preexisting. Whether the world, whether nature and society, or the psychological state of the artist fears, frustrations, love, hatred, and other psychological situations. In this paper, we have tried to illustrate how some of the phenomenological concepts of Edmund Husserl’s literature show how the artwork is a form of representing the meaning of the world, as it has been given in the artist’s intentional and nonereflective experience. To do this we have tried to provide a proper definition of the concepts we have in Husserl. meanwhile, we tried to establish the proportions that are necessary to achieve the goal of our research. Our basic questions are about the work of art, body and its relationship with the work of art and its perception, as well as the fundamental relationship between the artist and the work of art. We devoted ourselves to trying to demonstrate the artistic nature of art in general and artwork in particular. We tried to enlighten the relationship between the artwork as an object and the objectivity of artbetween what the objectivity of art is, and what, as it may be, in the realist approach of art, the artwork as an object is. We also examined the importance of the artist’s intentional experiences during the creation of artwork. We also tried to illustrate the importance of the artist’s relation to the world around him in virtue of his livingbody, both in the production of artwork and in understanding it. Our attempt to demonstrate the attachment of artwork to a natural approach has also examined the relationship between truth claims and art in a phenomenological reading. This, of course, is only a preliminary attempt to move towards a formulation by which we might be able to find new possible truth foundations in art and artworks. We are totally writing against representationalism in an understanding of art, be it a positive approach to representation or a negative one. We proceed toward our research by some prepositions; such as Art is something autonomous which is not bound to any scientific approaches; Arti is not A representation of something it creates the world; by such a creation art provides a nonscientific foundation for human conversation as a tool for improving the world as an intersubjective world shared in our interbodily existence. We also decided to apply Husserlian Conceptions in regard to prepare an answer for antifoundationalist accounts of art which totally deform what we know as Art and reduce Art to a kind of selfexpression of a soloistic Subject which they call an artist. It is of course just an introductory essay.