Estetinio žvilgsnio fenomenologija

LTGilindamiesi į žvilgsnio ir regimybės reiškinius susiduriame su įvairiais klausimais. Ką ir kaip žmogus geba regėti? Koks yra santykis tarp žvilgsnio ir jo refleksijos? Kuo estetinis žvilgsnis skiriasi nuo "kasdienio", praktinio žvilgsnio? Kaip žmogus regi, sakykim, gelmę, spalvą? Tokių klausimų neretai kildavo filosofams, antropologams, psichologams ir meno teoretikams. Regimumo problematikai itin daug dėmesio skyrė fenomenologai, ypač M. Merleau-Ponty ir M. D ufrenne'as, kurių įžvalgomis šiame straipsnyje remiamasi plačiausiai. Tyrinėjant svarbiausius žvilgsnio fenom enologijos aspektus, pirmiausia nagrinėjama estetikos ir meno problematika. [Iš straipsnio, p. 486]Reikšminiai žodžiai: Fenomenologija; Estetinis žvilgsnis; Regimas laukas; Refleksija; Gelmė ir paviršius; Horizontas; Phenomenology; Aesthetic sight; Visual fields; Reflection; Depth and surface; Horizon.

ENThis essay presents a phenomenological interpretation of sight in general and aesthetic sight in particular. The author investigates the various aspects of visual fields and shows that in making everything visible the observer must include himself in the invisible, to the extent that he is a visible thing. The author then articulates the topography of a phenomenology of painting and explores Merleau-Ponty's interpretation of the meaning of Cezanne's art and the specificity of aesthetic seeing of the surrounding world. In the first two chapters, attention is focused on the connections between direct seeing and its reflection, which according to a phenomenological interpretation has to be secondary to seeing. Direct insight is prior to reflection and the most obvious example is aesthetic seeing. For this reason, painters see the world as a whole, without conceptualizing it. The phenom enological explanation of how a painter sees the world is presented in the third chapter of this essay. The author's attention is focused on Cezanne, who represents an analogue to phenom enological "seeing" through his attempts to paint the "lived" pre-scientific experience of the world. This propriety of the painter's eye causes it to regard colors as a "secondary" quality (secondary to the 'prim ary' mathematical qualities such as point, line and plane), which provide our original contact with the world and constitute the substantiality and solidity of things. Aesthetic sight (this term can describe our sight of the art work as well as the artist's sight of the surrounding world) help us to see the colors because it help us to suspend the functional aspect of the thing we looking at and enable us to perceive it as a thing in itself. The author also presents a phenom enological interpretation of seeing such phenom ena as depth and horizon, which never can be seen from outside because the spectator always must be inside.