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  • 7/22/2019 Fenomenologia Artei La Husserl

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    ART AND PHENOMENOLOGY IN EDMUND HUSSERLMilan Uze lac

    It is often pointed out that Husserl's disciples and followers producedsignificant works in aesthetics although Husserl himself was not particularlyconcerned with aesthetic problems, so at first sight it may appear quite obviousthat one cannot properly speak about Husse d's aesthetics; it has also oftenbeen emphasized that his works contain few instances which explicitly dealwith aesthetic problems. However, all this does not necessarily imply that onecannot attempt to reconstruct an immanent aesthetics present in his work; thisis being done here not with the intention to shed light on Husserl'sphilosophical thought in general, but rather to point to the elements of far-reaching significance in aesthetic treatises of the 20 h century. I am convincedthat it can easily be shown that even Husserl's incidental remarks on art give ahighly clear scheme which would be the basis of interpretation of works of finearts, drama and music, as well as their practice.

    1 . The wo r ld as an image in the fan ta sy wor ldAccording to Husserl, all art ranges between two extremes: on the one hand

    there is the given world and the given time gegebenen Wel t und Ze i t ) which aredetermined for us and make up our real world, our surroundings, while on theother hand there is the world of ma ke believe, a possible world, a possibletime with its regulations [Hua, XXIII/540]; a representative of the former isfound in visual arts, while pure fantastic art re in phan tas t i sche Kuns t ) - music,playing fantasy spielende Phantasie), is found in the latter. Art is thus on no-one 's land: between the real and the possible (but not materialized) - it is afunction of rendering the possible into the real.The world of art is created by transferring fantasy into reality, the artistplaying with the real on the other side of the actual das Wirk l iche) . Whatcomes to the foreground is the thing itself Sache selbst) , the work of art, andartists are no longer faced with the imperative of creation for creation's sake;what is insisted on is the introduction of new things into actuality Wirkl ichke i t ) .

    Axiomathes. Nos. l-2 1998 pp. 7-26.

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    MILANU Z E L C

    Thi s s t andpo i n t i s con f i rm ed i n Hus ser l , who say s tha t i t i s no t t he poe t , bu tpoe t ry tha t is be i ng r eco ns i dered [Hua , XX117 /540-41], i t i s ev i de n t t ha t s t r essi s l a i d on t he s t udy o f t he ob j ec t i ve : t he w ork o f a rt i t se l f; t h i s i s a l og i ca lc o n s e q u e n c e o f H u s s e r l ' s s t u d i e s o f th e w o r l d o f id e a l, g e n e r a l o b j e c t s ; h e t e r m st h i s f i e l d o f i dea l ob j ec t s the world of a pr ior i , w h i l e t h e s e i d e a l o b j e c t scons t i t u t e an ob j ec t o f par t i cu la r , ca t eg o r i ca l exper i en ce , i. e . a poss i b l e ob j e c tw h o s e p e r c e p t i o n d e p e n d s o n a f i x e d d e s c r i p ti o n .

    B r i n g i n g t h e c o n c e p t o f o b j e c t u n d e r d i s c u s s i o n ( w h i c h a n y q u e s t i o n r e g a r d -i ng t he essence o f an a r t i s t i c ob j ec t a i ms a t ) here a l so i mp l i es t he ques t i on con -cern i ng wh at , i n f ac t , i s me an t by an ob j e c t . Hus ser l po i n t s ou t tha t an appe ar -a n c e Erscheinung) c a n b e a n objec t i n a p s y c h o l o g i c a l s t a t e m e n t Einstellung),bu t t h i s i s no t t he case i n an aes t he t i c s t a t emen t ; i n an aes t he t i c s t a t emen t t hep h e n o m e n o n i s n o t o b s e r v e d a n d m a d e t h e o b j e c t o f t h e t h e o r y , b u t th e o b j e c t o ri m a g e - o b j e c t Bildobjekt) r e f l e c t e d i n t h e m e d i u m o f i m a g e i s o b s e r v e d t h r o u g hpercep t i on ; i n observa t i on , t he sub j ec t i s i n a t heo re t i ca l pos i t i on , wh i ch i scharac t e r i zed by i t s d i r ec t i on t owards t he t rue be i ng wahre Sein) w h o s e a i m i st o de t e rmi ne somet h i ng ; t h i s i s d i f f e r en t f rom t he p rac t i ca l pos i t i on , wh i ch i sc h a r a c t e r iz e d b y a i m i n g to w a r d s s h a p i n g o r c h a n gi n g . A g r o u p o f s u c h o b j e c t si s a wor l d t ha t has i ts equ i va l en t i n t he fi e l d o f t r anscenden t a l con sc i ou sne ssBewusstsein) wh ose un i t y i s p rov i de d fo r i n the ac t o f f an t asy .

    I t i s e v id e n t t h at i t w a s p r e c i s e l y H u s s e r l w h o m a d e w a y f o r t h e s p a c e w i t h inw h i c h H e i d e g g e r ( i n a c c o r d a n c e w i t h K a n t w h o w a s t h e f i rs t t o b e a w a r e o f t h isp rob l em ) pos t u l a t ed t ha t a work o f a r t i s no t an o rd i nary ob j ec t , an u t ens i l , bu ta b o v e a l l t h e g r o u n d Boden) u p o n w h i c h r e a l q u a l i t i e s a r e t r a n s f o r m e d i n t oi mag i nary o nes by t he a r t i s t ' s w i l l , in o t her words , t he p l ace w here t ru t h t ake sp l a c e , w h e r e i t a p p e a r s ; H e i d e g g e r l a y s m u c h m o r e s t r e s s o n t h e t r u t h t h a n t h eappearance i t se l f .

    I t is b y n o m e a n s c o i n c i d e n t a l t h a t t h e p r o b l e m o f f a n t a s y r e a c h e s t h e c o r e o fs t u d i e s s e e k i n g t o s h e d l i g h t o n p h e n o m e n o l o g i c a l d a t a Gegebenheiten) asf o u n d a t i o n s a i m e d t o b e s t u d i e d Versuch) b y t h e a n a l y s i s o f b e i n g Wesen); ino t h e r w o r d s : w h a t i s b o r n e i n m i n d a r e i n t e n t i o n a l l y o b j e c t i v i z e d e x p e r i e n c e s ,s u c h a s , s a y, e x p e r i e n c e s w h i c h t h e a r t is t h a s i n t h e m o m e n t o f c r e a t io n o f t h ew o r k o f a rt o r e x p e r i e n c e s o f t h e o b s e r v e r i n th e m o m e n t o f s h a p i n g o f a na e s t h e t i c o b j e c t ; w h a t i s m e a n t h e r e i s i n n e r s e e i n g , a s o p p o s e d t o o b s e r v a t i o no f t h e e x t e rn a l ( i .e . p e r c e p t io n ) . I t c a n e a s i l y b e s h o w n h o w p e r c e p t i o n i so p p o s e d t o r e a l iz a t io n Vergegenwaertigung) - i .e . w h a t l i n g e rs b e f o r e o u r e y e si n f a n ta s y [ H u a , X X I / I / 3 ] . W h e n H u s s e r l p l a c e s t h e c o n c e p t o f f a n t a s y in t h ec e n t r e o f h i s re s e a r c h o n e m u s t b e a r i n m i n d t h a t h e i s n o t in t e r e s t e d i n f a n t a s yas an ac t i v i t y o f t he sou l Seele); h e a b o v e a l l s e e k s t o s e a r c h t h e p h e n o m e -

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    RT ND PHENOMENOLOGY IN EDMUND HUSSERL

    nological data which are the foundations of the analysis of essence Wesen);these data are intentional objectifying experiences usually termed presentationsVorsteUungen) of the fantasy, or most often just presentations; such are, ac-cording to Husserl, presentations of a centaur given by the artist and those pre-sentations are confronted with external observation, perception. The external,that which really appears is confronted by internal presentation, what is inter-nally realized, that which, as we have already stated, lingers in the fantasy ;realization is thus understood as the ultimate mode of intuitive presentat ion.Fantasy could be understood as a simple illusion Schein ) , but each sensory-perceptive illusion is not at the same time a fantasy illusion; the source of theillusion, which Husserl is especially interested in here, must lie in the subjectand relies on his activities; thus the activity of fantasizing is opposed toperception which is always bound up with the present. While looking at apicture the observer lives in its pictoriality Bildlichkeit); the object is realizedin the picture. Awareness of this immanent pictoriality is of particularsignificance for aesthetic observation of a picture.The interest arising here is not only caused by the subject contained withinthe picture, because, there where the picture acts wirken) aesthetically, theaction is not only a consequence of the existence of a subject, but also ofcolouredness. The colours themselves possess a certain power of words, so inorder to reach the world created by the subject it is necessary to set the fan tasygame in motion, so in Veronese's or Duhrer's pictures, says Husserl,landscapes and the period they lived in appear simultaneously.

    At the same time, Husserl rightly emphasizes that what interests us in apicture is not the subject but the manner in which it appears and how much itappeals to us aesthetically. Husserl writes about it in 1904/1905 in his lecturesPhantas ie und B i ldbewuss t se in and, what is most important, he draws hisexamples mainly from visual arts, stressing that without pictures there is novisual art. This assertion is quite in accordance with the classical conception ofthe picture, which does not take the aspect of process as one of the work'sdimensions. Such a thing could be expressed in the case of the art of music, butit is by no means coincidental that Husserl uses poetry and visual arts in order tospeak about the work, whereas when discussing the art of drama he researchesthe dimensions of reality, so time as a way of existence is not fo und within thehorizon of his research.

    This could mean that Husserl's postulates remain within the sphere ofthinking of classical art and they do not funct ion in tkc c~tse of mode m art;this would probably be correct were it not for the penetration into a new,postmodern space and the reversal which opens up a new insight: namely, theessence of classical, modem and postmodern art is the same. The difference, ifthere is one, is only in the way of interpretation of objectification, which isconstituted in the creative act. In his already mentioned lecture Husserl states

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    10 MIL N UZEL Cthat a picture must clearly be distinguished from reality [Hua, XXIII/41]; in thisway he anticipates Hartmann's later insistence on the necessity of existence ofmeans of derealization, means by which a work of art is separated from the realworld and thus avoids becoming a surrogate of reality.One must bear in mind that the questions opened here by Husserl are not atthe same time those he primarily aims at, because otherwise he would haveexplicitly built a theory of aesthetics; it is a fact that he is interested in theaesthetical rather than the aesthetic dimension, and analyzing the phe nomenonof sensuality Sinnlichkeit) his concept of the aesthetic approaches Kant' s.The picture possesses its own space which is not identical with the one weperceive in the picture, although its ground is in the real space and in realitywith momentary perceptions Wahrnehmung ) in it; the invisible part of thespace belonging to the picture is opposed to the part of space which can begrasped by experience [Hua, XXIII/509]. The encounter of the two spaces andtheir combination creates fictions: a king on the stage, says Husserl, is a realman with real clothes, when he leaves the stage and leaves his royal attire in thedressing room he again becomes an ordinary man and the hitherto royal clothesagain become ordinary clothes.Thus we recognize that the question of the essence Wesen) of art, in case o fvisual arts, is treated as the question of the essence of the picture, so we mustreturn to the question of the picture in the light of the relationships betweenreality and non-reality, or the question of the world of the picture within theworld of real objects; this is one of the reasons why Husserl's student andcollaborator, Eugen Fink, analyzes the world and consciousness of the picturefollowing his teacher's footsteps in the thirties. Fink's analyses start by raisingthe subject of the phenomenological sense of non-reality, which he does notunderstand as a term contrary to reality, because the non does not meannegation here, since Fink is not interested in the problem of being Sein) or non-being Nichtsein) of the so-called intentional objects; on the contrary, non-beingis contained within the being.It is a fact that Fink, studying the constitution of unreal experiences [Fink1966, 67], which should imply an insight into the ontological fundamentalcharacter of the picture, starts from the picture as an object of our surroundingworld; it could be a work of art or a photograph; the question whether itconcerns a purely given work or only a picture acquires its object form fromhuman subjectivity. The picture is shown as a product of culture, as apurposeful zweckmaessig) creation Gebilde). What interests us most in apicture, as Fink points out, is its meaning (73), but it does not belong to the purephenomenon o f the picture.How is this to be understood at all? Obviously, it is a matter of unreality inthe sense of ideal meaning which is manifested as the ideal singularity of awork of art. What ultimately precedes cognition are the subjective intentions of

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    RT ND PHENOMENOLOGY IN EDMUND HUSSERL I1t h e a u t h o r o f th e p i c t u r e , a n d t h o s e i n t e n t i o n s , i n t u r n , a r is e b y m e a n s o fc o g n i t i o n ( P . R i k e r) , w h i c h f i n a l l y c o n c l u d e s e x p l a n a t i o n . E x p l a n a t i o n m e a n th e r e i s o f p a r t ic u l a r i m p o r t a n c e , a s i t e m p h a s i z e s t h e s i g n i f i c a n c e o fu n d e r s t a n d i n g w h i c h d i r e c t l y o c c u r s i n f r o n t o f a p i c t u r e .

    I n h i s a b o v e m e n t i o n e d w o r k E . F i n k d e t e r m i n e s a p i c t u r e a s a u n i t y o f t h er e a l b e a r e r Traege r ) a n d t h e p i c t u r e w o r l d b o r n e b y i t . T h e p i c t u r e w o r l dBildwelt) i s a l w a y s b o u n d u p w i t h t h e r e a l b e a r e r ; i t a l w a y s h a s i t s o w n s p a c ea n d i t s o w n t i m e , a n d th e r e i s a l s o a s p h e r e w h i c h s u r r o u n d s t h e w o r l d o f th ep i c t u r e a n d w h i c h f a d e s i n t h e o p e n h o r i z o n o f i ts s p a t ia l i t y Raumlichkeit) (74) .T h e o b j e c t s a p p e a r i n g i n a p i c t u r e a r e n o t r e a l o b j e c t s o f s p a c e a n d t i m e b u tp o s s e ss t h e i r o w n s p a c e a n d t h e i r o w n t i m e . T h i s m a k e s p o s s i b l e f o r u s t o h a v ea c o n s t a n t p r e s e n t ( a n d t h a t p r e s e n t h a s i t s p a s t a n d f u t u r e , i . e . t h e p a s t a n d t h ef u t u r e o f t h e w o r l d o f t h e p i c t u r e a n d n o t t h e r e a l p a s t o r f u t u r e o f t h e p i c tu r e ) .

    P o i n t i n g o u t t o t h e u n r e a l i t y o f t h e w o r l d o f t h e p i c t u r e , F i n k a t t h e s a m et i m e w i s h e s t o e m p h a s i z e t h e r e a l i l l u s i o n o f t h i s w o r l d ; i t i s a m a t t e r o fr e a l i t y Wirklichkeit) o f u n r e a l i t y Unwirklichkeit) i t s e l f . T h e b e a r e r o f t h ep i c t u r e h e r e i s n o t i n th e c e n t r e o f a t t e n t i o n b e c a u s e w e a r e a w a r e o f i t a l l t h et i m e ; a f t e r a l l , t h e b e a r e r i s n o t o n l y t h e m a t e r i a l , c a n v a s o r p a i n t , b u t , a s F i n ks t r e s se s , t h e e n t i r e s u r f a c e l a y e r o f t h e p i c t u r e - w h a t c o v e r s t h e b e a r e r , w h i c hi s t h e w a y i n w h i c h t h e b e a r e r o f t h e p i c t u r e i s g i v e n t o u s .

    W e a r e d e a l i n g w i t h a n i m p o r t a n t s t r u c t u r e o f a w a r e n e s s o f th e p i c t u r e : i nt h e m e a s u r e t h a t t h e a w a r e n e s s o f t h e p i c t u r e h a s a n e f f e c t o f u n i t y , t h e b e a r e rh a s a n a l m o s t a n o n y m o u s f u n c t i o n . T h i s a n o n y m i t y h a s a s p e c i f i c c h a r a c te r o fc e r t a i n s e l f - u n d e r s t a n d a b l e s e l f - g i v e n n e s s a s s u c h . T h e w a t e r s u r f a c e i s n o t s e e na s m u c h a s t h e r e f l e c t i o n o n t h e w a t e r .

    T h e w a y i n w h i c h t h e p i c t u re i s g i v e n , d i s c u s s e d b y F i n k h e r e , w h i c h i n h i so p i n i o n h a s t h e f u n c t i o n o f t h e b e a r e r o f th e w o r l d o f t h e p i c t u r e i s a n e wm o m e n t i n t h e a n a l y s i s o f t h e st r u c t u r e o f u n i t y o f t h e p i c t u r e ; t h i s i s q u i t ed i f f e r e n t f r o m w h a t w e f i n d i n H a r t m a n n w h o s e e s in t h e b e a r e r o n l y t h em a t e r i a l l a y e r o f th e p i c t ur e , b u t a l s o a n i m p o r t a n t m o t i f t a k e n o v e r l a t e r( c o n s c i o u s l y o r u n c o n s c i o u s l y ) b y R . I n g a r d e n .

    I n t h e l a s t c h a p t e r o f h i s i n a u g u r a l d i s s e r t a t i o n F i n k d e d i c a t e s a t t e n t i o n t o t h ep h e n o m e n o n o f t r a n s p a r e n c e o f t h e p i c t u r e ; t h e e n t ir e p i c t u r e i s o n l y a

    w i n d o w i n t o t h e w o r l d o f t h e p ic t u re . T h i s a c c o u n t o f t h e w i n d o w a n dt r a n s p a r e n c e o f t h e p i c t u r e is la r g e l y p a r a b o l i c . T h e w o r l d o f t h e p i c tu r e t h r o u g hi t s p e r s p e c t i v e i s o r i e n t e d t o w a r d s t h e o b s e r v e r , w h o i s t h e c e n t r e o f o r i e n t a t i o no f th e w o r l d o f t h e pi c tu r e . W i t h t h e c o n c e p t o f w i n d o w a s t h e s t r u c tu r e o f th ee s s e n c e o f t h e p h e n o m e n o n o f t h e p i c t u r e F i n k f i n d s t h a t h e h a s r e a c h e d t h ef u n d a m e n t a l c o n c e p t w h i c h m u s t l i e i n t h e b a s i s o f i n t e n t i o n a l - c o n s t i t u t i v ea n a l y s i s o f t h e p i c t u r e . A w i n d o w , w h i c h i s a t t h e s a m e t i m e r e a l a n d u n r e a l ,i s a n o e m a t i c c or r e la t e o f th e m e d i a l a ct o f p i c t u r e a w a r e n e s s , i .e . n o t h i n g b u tt h e p u r e p h e n o m e n o n o f t h e p i ct u r e.

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    12 MILAN UZELACI n h is w o r k Phantas ie un d b i ld l iche Vors te l lung ( 1 8 9 8 ) H u s s e r l d i s t in g u i s h e s

    b e t w e e n a p i c t u r e a n d a t h i n g Sache); as r e g a r d s t h e f o r m e r , i t i s p o s s i b l e t ospeak abou t ( a ) a p i c t u re as a phys i ca l t h i ng ( a t h i ng t ha t can be sen t by mai l , at h i n g t h a t c a n b e h u n g o n a w a l l o r d e s t r o y e d ) a n d a b o u t ( b ) a p i c t u r e a s a no b j e c t w h i c h a p p e a r s b y m e a n s o f c e rt a i n p a i n t s a n d s h a p e s . T h e l a t te r i s n o t ar e f l e c t e d o b je c t , o r s u b j e c t o f t h e p i c tu r e , b u t a n a n a l o g u e o f a f a n t a s y p i c t u re ;t h is m e a n s t h a t o n e m u s t c o n s t a n t l y b e a w a r e o f t h e d is t in c t i o n b e t w e e n t h er e p r e s e n t e d a n d t h e r e p r e s e n t i n g o b j e c t o f t h e p i c t u r e Bildobjekt) w h i c h a r e ,aga i n , d i f f e r en t i n r e l a t i on t o a phys i ca l p i c t u re [Hua , XXUI / 109-110] .

    I f a s t ep ou t o f r ea l i ty i s t aken a s i t s nega t i on , a s a r e j ec t i on o f r ea l i t y o r i t sd e c o m p o s i t i o n , w h i l e r e a l i ty i s c o n f r o n t e d b y t h e a c t i v e l y p e r c e i v e d o b j e c t , i t isqu i t e sens i b l e t o r a i se t he i s sue o f t he charac t e r o f t ha t ac t i ve appercep t i on : i s i to n t h e s i d e o f th e o b s e r v e r o r is i t a f e a t u r e o f a n a c t o r w h o , w h i l e s a y i n g h i sl in e s , s i m u l t a n e o u s l y f e e l s t h e c o n t e n t o f t h e s c r i p t a n d h i m s e l f a s t w o d i s t in c tf a c t s o f c o n s c i o u s n e s s ; in o t h e r w o r d s : i n w h i c h w a y d o e s t h e p e r c e i v i n gc o n s c i o u s n e s s r e c o g n i z e t h e s a m e o b j e c t i n t w o s e p a r a t e d i m e n s i o n s ? W h a tc o n s t a n t l y o c c u r s a s a p r o b l e m i s t h e b o u n d a r y w h i c h m u s t b e c r o s s e d i n o r d e rt o r each t he a r t wor l d f rom t he r ea l wor l d ; i t i s a f ac t t ha t t h i s boundary i sc o n s t a n t l y m o v i n g a n d i s n o t d e t e r m i n a b l e o n c e f o r e v e r , b u t i s d e t e r m i n e d b yt h e w o r k w h i c h w e s e e a s a r t is ti c .

    In t ha t see i ng l i es t he found at i on o f ex i s t en t i a l i t y o f a wo rk o f a r t, wh i ch i sw h y t h e t h e s is a b o u t t h e w o r l d a s a p i c t u r e in t h e w o r l d o f f a n t a s y c a n j u s t i f i a b l yb e d e f e n d e d . T h e d u a l i ty o f t h e w o r l d s ( a l t h o u g h a n y u s a g e o f t h e c o n c e p t o ft h e w o r l d i n p lu r a l is l o g i c a ll y n o n s e n s i c a l ) d i s c u s s e d h e r e i s o n l y a p a r a b l e b ywh i ch t he pecu l i a r i t y o f t he a r t is t ic phe nom eno n i s i n te rp re t ed . I f t h i s i s imp os-s i b l e w i th i n t h e A r i s t o te l i a n d e t e r m i n e d c a t e g o r i c a l a p p a r a t u s o f W e s t e r n p h i -l o s o p h y , i t is q u i t e p o s s i b l e i f t h in k i n g i n i m a g e s i s i n tr o d u c e d ( in t h e m a n n e r o fp r e - S o c r a t i c s ) o r t h in k i n g w h i c h m a k e s u s e o f a c o m p l e x g a m e o f m u t u a l l y ( t o ac e r t a in e x t e n t ) e q u i v a l e n t f u n d a m e n t a l p h e n o m e n a , a s d o n e b y E . F i n k.

    W h e n a t h in g is i m a g i n e d i n f a n t a s y t h e n t h e r a t io o f t h e i d e a a n d t h et h i ng i s ana l ogo us t o t he r a ti o o f a pho t og ra ph o f tha t t h i ng and t he t h i ng i t se l f ;i n b o t h c a s e s t h e i m a g e s o f th i n g s ( c o n s i d e r i n g t h e i r o b j e c t d im e n s i o n ) a r e noth-in g a n d d i s c o u r s e o n t h e m h a s q u i t e a m o d i f y i n g s e n s e w h i c h p o i n t s t o a c o m -p l e t e l y d i f f e r e n t e x i s t e n c e f r o m t h e o n e w h i c h c a u s e s t h e m ; H u s s e d w a r n s t h a tt h e r e i s n o o b j e c t in t h e p i ct u r e , b u t o n l y a p h o t o g r a p h e d o b j e c t a n d r e a l c o l o u r so n p a p e r , a s w e l l a s t h e c o r r e s p o n d i n g c o m p l e x o f p e r c e p t i o n s e x p e r i e n c e d b yt h e o b s e r v e r o f t h e p i c t u r e [ H u a , X X 1 T I /1 1 0 ]; l ik e w i s e , t h e p i c t u r e i n f a n t a s y d o e sn o t r e a l ly e x i s t , b u t t h e r e i s a c o r r e s p o n d i n g c o m p l e x o f s e n s o r y c o n t e n t s o f t h ef a n t a s y i n t h e e x p e r i e n c e o f t h e p r e s e n t a t i o n g i v e n u s b y t h e f a n t a s y . W h a t i so b j e c t i f i e d i n t h e m i n d i s n o t t h e p i c t u r e b u t t h e o b j e c t a s a f i c ti o n a l i m a g e .

    W h a t m u s t b e b o r n e i n m i n d h e r e i s t h a t f a n t a s y , w h e n t h i s t e r m i s t a k e n i ni t s p o p u l a r s e n s e , d o e s n o t o n l y r e f e r t o a r t i s t i c f a n t a s y ( w h e r e o u r e x a m p l e s

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    RT ND PHENOMENOLOGY IN EDMUND HUSSERL 13m o s t l y c o m e f r o m ) ; e v e n l e s s s o i s i t u s e d i n it s n a r r o w r a n g e s u c h a s i s u s u a l l yf o u n d i n p s y c h o l o g y u n d e r t h e t i tl e productive fantasy ( w h i c h i s m o d i f y i n g i nt h e w a y a s u s e d b y t h e a r t i st ) ; th e u s a g e o f t h is t e r m i m p l i e s t h e e m p l o y m e n t o fa t h ir d r o a d u p o n w h i c h t h e c o n c e p t o f f a n ta s y w o u l d d e v e l o p e q u a l l y b o t hr e g a r d i n g i t s p e r c e p t i v e a n d r e p r o d u c t i v e d i m e n s i o n .

    I n H u s s e r l i t i s n o t a m a t t e r o f t h e c o n c e p t o f f a n t a s y i n t h e f u n c t i o n o f a r t ;b u t , as h e s e e s p h a n t a s i z i n g a s o p p o s e d t o p e r c e p t i o n , f a n t a s y c a n b e u n d e r s t o o da s a p a r t i c u l a r, s p e c i f i c w a y o f u n d e r s t a n d i n g , w h i c h i s a p o i n t w h e r e i n o n em o m e n t t h e a l r e a d y a n n o u n c e d i s s u e s c o m i n g f r o m a e s t h e t i c s m u s t b e i n t h ec o r e o f r e se a r ch . I t c o n c e r n s t h e a e s t h e ti c w a y o f o b s e r v a t i o n i n w h o s e c e n t r e i st h e i n t e r p r e t a t i o n o f a p i c t u r e - o b j e c t Bildobjekt) w h i c h i s o n t h e o t h e r s i d e o fi n t e r e s t f o r b e i n g a n d n o n - b e i n g b e c a u s e i t i s a m a t t e r o f o b s e r v a t i o n i n w h i c hn o a t t i tu d e s a r e t a k e n : d i e a e s th e t i s c h e B e t r a c h t u n g f o r d e r t d e n A u s s c h l u s s d e st h e o r e t i s c h e n I n t e r e s s e s , d i e t h e o r e t i s c h e E i n s t e l l u n g m u s s w e i c h e n d e ra e s t h e t is c h e n [ H u a , X X I I I / 5 9 1 ] . A l t h o u g h t h e d i ff e r e n t i a ti o n b e t w e e n t h e t w od o m a i n s i s n o t a r e c e n t r e s u l t , i t is o n l y t o d a y t h a t w e a r e b e c o m i n g a w a r e o f t h ef a r r e a ch i n g d e c i s i o n m a d e e x p l i c i t b y A . G . B a u m g a r t e n . T h e r e f o r e t h e g r o w i n gi n t e r e s t i n t h i s o v e r t w o c e n t u r i e s f o r g o t t e n t h i n k e r i s h a r d l y a c c i d e n t a l , a s i tc o i n c i d e s w i t h t h e n e w t h e m a t i z a t i o n o f n a tu r e i n p o s t m o d e r n i s m , w h i c h i sc o m p a r a b l e t o t h e i n t e r e s t i n n a t u r e a m o n g t h e f i r s t R o m a n t i c s a n d t h e i ri m m e d i a t e p r e d e c e ss o r s .

    W h a t c h a r a c t e r i z e s a n a e s t h e t i c s t a t e m e n t i s a p o s s i b i l i t y t o r e v e r t t o i t , t oo b s e r v e r e a l i ty a s a n i m a g e w i t h i n it ; t h i s m e a n s t h a t w e p o s s e s s t h ep o s s i b i l i t y t o i m a g i n e t h e r e a l i t y r e p r e s e n t e d i n t h e i m a g e , o r v i c e v e r s a , t oi m a g i n e t h e i m a g e i n w h i c h t h e r e a l i t y i s r e p r e s e n t e d . W e c a n a s k t h e q u e s t i o n ,w h a t i s t h e o b j e c t e n c o u n t e r e d i n t h e f i e l d o f t h a t r e a l i t y a n d a n s w e ri m m e d i a t e l y : i t i s t h e t o t a l i t y o f e v e r y t h i n g t h a t e x i s t s f o r t h e s u b j e c t , w h a t i sv a l i d f o r h i m a n d e n d u r e s ; i f s u c h a n o b j e c t o c c u r s i n t h e c e n t r e o f f a n t a s y , i tm i g h t h a p p e n t o b e i n t h e m i d d l e o f a n i m a g i n a r y c o n f l i c t , s i n c e , i s n ' t p u r ef a n t a s y , a s k s H u s s e r l , a c o n f l i c t Widerstreit): a c o n f l i c t w i t h p e r c e p t i o n s ,r e c o l l e c t i o n s Erinnerungen), a n t i c i p a t i o n s ? A l l t h e s t a t e m e n t s a b o u t t h e w o r l de x c l u d e d , d o e s f a n t a s y s t i l l h a v e i t s p l a c e , s o m e t h i n g i t c o u l d s t a n d a g a i n s t[ H u a , X X I ~ 5 9 3 ] ? W h a t a r e t h e bo u n d a ri e s i m p o se d o n f a n t a s y ? D o t h e y c o m ef r o m t h e o u t s i d e o r d o t h e y s p r i n g f r o m i n s i d e i t s e l f ?

    H e r e i t i s e v i d e n t l y n o t a m a t t e r o f p l a y , b u t o f e x c l u s i o n , o f p u t t i n g t h e c o n -f r o n t e d p e r c e p t io n s o u t o f p l a y , i ll u s io n n o l o n g e r b e i n g r e a l i t y b u t m a n i f e s t e do n l y a s quasi-reality. T h e q u e s t i o n o f r e a l i t y , i n t r o d u c e d b y t h e c o n c e p t o fi l l u s i o n , a p p e a r s a s t h e f u n d a m e n t a l q u e s t i o n o f a n y a e s t h e t i c r e s e a r c h , w h i c h i sw h y a n y p h i l o s o p h y o f a r t is e v e n t u a l ly m o d i f i e d a s o n t o l o g y o f a r t .

    T h e w o r l d o f a r t is a w o r l d o f m o d i f y i n g f a n t a s y , p e r c e p t i v e o r r e p r o d u c t i v e ,p a r t i a l l y p e r c e p t i b l e , p a r t i a l l y i m p e r c e p t i b l e ; w e h a v e a l r e a d y a s c e r t a i n e d t h a td u r i n g t h e p e r f o r m a n c e o f a t h e a t r e p l a y w e l i v e i n t h e s p h e r e o f p e r c e p t i v e

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    4 MILAN UZELAC

    f a n t a s y : t h e i m a g e s o c c u r r i n g b e f o r e u s f o r m a u n i t y , a n d t h e e s t a b l i s h m e n t o ft h is u n i ty o f i m a g e s i n f i c ti o n t e rm e d b y H u s s e r l i m m e d i a t e i m a g i n a t io nunmittelbare Imagination) [ H u a , X X I I ] /5 1 5 ] i s o f d e c i s iv e s i g n i f i c a n c e i nde t e rm i n i ng t he aes t he t i c charac t e r o f a p i c t u re ; i t i s c l ear t ha t here w e ared e a l i n g w i t h a s e n s o ry p r e s e n t a ti o n o f i m a g e s p r o d u c e d b y t h e a c t o r in h i s p l a y :h i s j ob i s t o r ep roduce t he pas t i n senso ry way and t hus r ender i t d i r ec t l y i n t ot he p resen t fo r u s .

    2. The w orld as the site of the playe d playA m o n g H u s s e r l ' s w o r k s o n t h e p h e n o m e n o l o g y o f p e r c e p t u a l r e a l iz a t io n

    anschauliche Vergegewaertigung) t he t ex t Zur Lehre von den Anschauungenund ihren Modis ( 1 9 1 8 ) p u b l i s h e d i n 1 9 8 0 i n v o l u m e X X I I I o f hi s c o m p l e t ew o r k s Phantasie, Bildbewusstsein, Erinnerung) i s o f spec i a l s i gn i f i cance ; t hereHusser l , r e l y i ng apar t f rom v i sua l a r t s espec i a l l y on per fo rmi ng ar t s , po i n t s t ot he r e l a t i onsh i p be t wee n r ea l i ty and i t s r ep resen t a t i on i n a d ram at i c work ; i f f o rh i m a r t is a fi e l d o f m o d i f y i n g f a n t a s y w h i c h m a y b e p e r c e p t i v e o r r e p r o d u c t i v e ,perce i vab l e , par t l y a l so no t perce i vab l e , s i nce a r t i s no t necessar i l y wi t h i n t herange o f percep t i b i l i t y [Hua , XXII I / 514 ] t he dom ai n o f a r t i s f i c t i on wh i ch i sno t t he same as r ea l i t y bu t on l y a poss i b i l i t y ; t h i s f i c t i on i s composed o f quasi-r ea l t h i ngs ab i d i ng i n t he i r own ( f i c t i ona l ) space and t i me; t hose t h i ngs a r e i n ani ndef i n i t e , unde f i ned ho r i zon o f a wor l d i n s i de w h i ch t here ex i s t s an oppos i t i ona n d c o n f r o n ta t i o n b e t w e e n t h e o b j e c t s o f e x p e r i e n c e a n d o b j e c t s o f i m a g i n a ti o n .

    T h e experience world h e r e i s a l im i t l e ss s y s t e m o f c u r r e n t e x p e r i e n c e s w h i c hc a n b e m a d e e x p l i c i t w i t h i n t h e h o r i z o n c r e a t e d b y e x p e r i e n c e ; t h e s p h e r e o ff r eedom and se l f -wi l l ed changeab i l i t y i s l i mi t ed wi t h i n i t . Fantasy worlds arec o m p l e t e l y f r e e w o r l d s , e a c h f a n t a s y t h i n g a b i d i n g i n t h e f a n t a s y w o r l d a s aquasi-world; t h e h o r i z o n o f t h e f a n t a s y w o r l d ' s i n d e f i n i t e n e s s c a n n o t b e m a d ee x p l i c i t b y s o m e a n a l y s i s o f e x p e r i e n c e . T h e p e c u l i a r i t y o f f a n t a s y l i e s i n i t sa rb i t r a r iness , i .e . in a rb i t r a ry se l f -wi l l [Hu a , XXI I I / 53 5] .

    I n s ig h t i n t o t h e e x is t e n c e o f q u a s i - w o r l d s h a s a s i ts c o n s e q u e n c e t h a t a w o r kof a r t, espec i a l l y a l i t e r a ry w ork o f a rt , can be unde r s t ood as a se t o f quasi-s t a t emen t s , wh i ch Ingarden l a t e r a t t empt ed t o p resen t as h i s o r i g i na lcon t r i bu t i on t o t he r esearch o f s t r a ti f i ca ti on o f a work o f a r t. W hat a ppear s f a rm o r e i m p o r t a n t i s t h e w a y i n w h i c h H u s s e r l p o s e s t h is p r o b l e m : i f a p o e t i c w o r ki s a se t o f asser t i ng s t a t emen t s , t hen t here i s r eason t o sea rch fo r i ts o r i g i ns i nA r i s t o tl e , w h o w a s t h e f i r s t t o d e s c r i b e t h e s p e c i f i c s t ru c t u r e o f m o d e o fe x i s t e n c e o f t h e w o r l d o f t h e a r t i s ti c Kuenstlerische).

    I n t h e a b o v e m e n t i o n e d l e c t u re f r o m 1 9 1 8 H u s s e r l p o i n t s t o th e n a t u r e o f t h ew o r l d p r o d u c e d b y p e r f o r m i n g a d r a m a t ic w o r k Schauspiel): i f th e e s s e n c e o f

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    RT ND PHENOMENOLOGY IN EDMUND HUSSERL 15v i s u a l a r t s c o n t a i n s r e p r e s e n t a t i o n i n a n i m a g e w h i c h c a n b e d e t e r m i n e d a s ar e f l e c ti o n o f a r ea l o b j e c t, s u c h a w a y o f m o d i f y i n g c o u l d n o t b e a c c e p t e d a sp a r a d i g m a t i c f o r a ll o t h e r a rt s a s w e l l , s o i n t h e c a s e o f t h e w o r k s o f d r a m a t i c a r ti t s h o u l d b e s t r e s s e d t h a t t h e r e i s a f o r m o f r e a l i z a t i o n w i t h i n t h e f i c t i o n a l w o r l di n a d i f fe r e n t , n o t s im p l y r e f l e c t in g , m a n n e r . W h a t t a k e s p l a c e i s c r e a t i o n w h i c hd o e s n o t r e f l e c t t h in g s , b u t f o r m s t h e m f r o m t h e m s e l v e s . T h e y g r o w f r o m o u t o ft h e m s e l v e s , o c c u p y t h e re a l s p a c e a n d , t h a n k s t o t h e p o w e r o f t h e o b s e r v e r t o b es i m u l t a n e o u s l y a w a r e b o t h o f th e r e a l a n d t h e f i c t io n a l , t h e y h a v e a r e a le x i s t e n c e i n t h e u n r e a l w o r l d , t h e o n l y r e a l it y b e i n g t h e p l a y e d p l a y .

    D u r i n g t h e p e r f o r m a n c e o f a th e a t r e p l a y w e l i v e in t h e w o r l d o f p e r c e p t i v ef a n t a s y , f i n d i n g o u r s e l v e s o n t h e g r o u n d o f quasi-reality; w e s e e a s e q u e n c e o fi m a g e s a n d l i n k t h e m i n to a s i n g le i m a g e , b u t h e r e i t i s o b v i o u s l y n o t a m a t t e r o fa r e f le c t i o n s u c h a s w e h a v e i n t h e c a s e o f w o r k s o f v i s u a l a r t. W h a t h a p p e n s o ns t a g e i s a r e f l e c t i n g r e p r e s e n t a t i o n ( o f a h i s t o r i c a l c h a r a c t e r , e . g . R i c h a r d I I I o rW a l l e n s t e i n ) ; t h i s r e p r e s e n t a t i o n o b v i o u s l y h a s a n a e s t h e t i c f u n c t i o n ; i t i se v i d e n t t h a t w e a r e n o t d e a l i n g w i t h a r e f l e c t i o n b u t w i t h a n i m a g e p r o d u c e d i nt h e i m a g i n a t i o n ; i t i s a m a t t e r o f p e r c e p t i v e f a n t a s y , o f i m m e d i a t e i m a g i n a t i o n[ H u a , X X I I I / 5 1 5 ] . D e p e n d i n g o n t h e d r a m a t i c w o r k i n q u e s ti o n , H u s s e r l t h i n k st h a t t h e r e a r e t w o m o d e s o f f a n t a sy t o b e d i s t in g u i s h e d : f i rs t , f a n t a s y w h i c hb r i n g s s o m e t h i n g f r o m t h e p a s t t o t h e p r e s e n t ( s u c h a s t h e c a s e o f r e a li s t,b o u r g e o i s d r a m a , t e r m e d b y h i m f a n t a s y o f t h e p a s t , a n d , s e c o n d , p u r e f a n t a s y ,s u c h a s w e e n c o u n t e r i n H o f f m a n n s t h a l s f a i r y ta l es .

    T h e a c t o r s o n s t a g e p r o d u c e a n i m a g e ; i t is a n i m a g e o f t r a g i c a c ti o n , a n de a c h o f t h e m c r e a t e s a c h a r a c t e r o f an a c t i n g p e r s o n a l i t y ; h o w e v e r , t h e i m a g e o fp e r s o n a l i t y Bild yon) f o r m e d o n s t a g e i s n o t t h e s a m e a s t h e r e f l e c t i o n o f ap e r s o n a l i t y Abbild von), s o t h e a c t o r s r e p r e s e n t a t i o n d o e s n o t h a v e t h e s a m es e n s e a s t h e i m a g e - o b j e c t i n w h i c h a s u b j e c t i s r e p r e s e n t e d Bildsujet). N e i t h e rt h e a c t o r n o r t h e i m a g e h e c r e a t e s b e f o r e u s i s a n i m a g e i n w h i c h a n o t h e r o b j e c tw o u l d b e r e f l e c te d . T h e a c t o r s r e p r e s e n t a t i o n i s t h e p r o d u c t i o n o f an i m a g e b ym e a n s o f h i s re a l ac t iv i t y , h i s m o v e m e n t s , m i m e , h i s e x t e r n a l a p p e a r a n c e( w h i c h a r e h is p r o d u c t ) [ H u a , X X I I I / 5 1 5 ] .

    I n h is l e c t u r e s o n p e r c e p t i o n s a n d t h e ir fo r m s ( 1 9 1 8 ) E d m u n d H u s s e r l s p o k ea b o u t h o w a r e p r e s e n t e d p l a y dargesteUte Schauspiel) i s a p u r e p e r c e p t i v ef i g m e n t e in re ines perzep t ives F ik tum) [ H u a , X X I I I / 5 1 5 ] . I n t h i s w a y h ed i r e c t l y b r o u g h t u n d e r d i s c u s s i o n t h e r e a l i ty o f w h a t i s r e p r e s e n t e d o n s t a g e ; i no t h e r w o r d s , w h i l e b e i n g l e d b y q u i t e o t h e r m o t i v e s , H u s s e r l a s k s t h e q u e s t i o n :w h a t i s it t h a t w e r e a l l y s e e ? - a n d p o i n t s o u t t h a t o u r s e e i n g i s o n l y a r e s u l t o fw h a t w e h a v e l e a r n e d t o s e e , w h a t w e a r e p r e p a r e d t o s e e a t a l l . T h i s f u r t h e r

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    6 MIL N UZEL C

    means that what we see is not really what we are looking at, but something else,something yet to be seen if we observe the (dramatic) play artistically.Everything on stage, as pointed out by this philosopher, has the character ofa s i f A l s - o b ) . Actors as real people, real things: the set, the furniture on thestage, the real curtains, all this r e p r e s e n t s , serves to transfer us into artisticillusion (516). Everything that appears on stage, although it has a representingcharacter, is not there to represent itself, but above all to make presentsomething that is not there but is in its being more present than what is directlygiven to our senses at that moment.Thus the spectator is in a paradoxical situation: while watching he does notperceive what he actually sees in order to perceive what he cannot see in realityand what is ultimately the only reality on stage.

    Only this double seeing, which enables the spectator to abide simultaneouslyin two different worlds and to be equally aware of the existence of each of themseparately throughout the duration of the performance, is a necessaryprecondition Of seeing the artistic in performing arts.

    Living an illusory experience in a completely illusory position within theworld as an image of the world we no longer possess the experience of the realworld (especially not the experience acquired by representation of realitiesoffered to us), above all because it was excluded from the play at the veryoutset; a drama does not play with the world but makes possible for the world toplay its play within it. That is why the furniture on stage is real in the samemeasure as it is fictional in the world of image; on the other hand, on stage it isnot an image of fiction, but is completely real and determines the attitude of theobserver who lives in the stage performance.Of course, it is not real furniture, but the furniture in the room of a certainperson and thus, Hussed would say, it is fictional furniture, furniture embodiedin fantasy; thus it is opposed to real actuality to which real furniture belongs.Pieces of furniture are utensils and have a certain function in the room; but theroom, being opposed to reality now, is a fiction - it is usable, but for characterswho are fictions themselves, so the perceived in fantasy is not somethingresembling reality, the present or the past, but is cognized in its a s if contents, asan as- if reality.

    Perceptive fantasy arises on the ground of real things; the spectator sensorilyperceives one reality and experiences quite another. This first reality, termed byN. Hartmann the front, material plane, is a presupposition of appearance of allwe have termed fictional and unreal; this, on the other hand, exists only in theobserver s consciousness, that of the observer who can see artistically, who hasthe ability to see beyond reality, to penetrate the other reality shaped by actorson stage through their performance.This background H i n t e r g r u n d ) is made up of perceptions and experiencesproduced by real things, so an artistic object is r e p r e s e n t e d in that background -

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    RT ND PHENOMENOLOGY IN EDMUND HUSSERL 17i t i s a n i l l u s i o n a n d , w h e t h e r w e w a n t i t o r n o t , w e a r e a c t u a l l y d e a l i n g w i t hi l l u s io n s . H u s s e r l a s k s t h e f o l l o w i n g q u e s t i o n h e r e : w h a t i s t h i s r e p r e s e n t a t i o nc h a r a c t e r i z e d b y ?

    W h e n i t c o n c e r n s i l lu s i o n i n it s o r d i n a r y s e n s e , in t h e s e n s e o f m a k e - b e l i e v e ,w h a t t a k e s p l a c e i s p e r c e p t i o n c h a r a c t e r i z e d b y t h e p o s s i b i l i ty o f t ra v e r s i n g t oo t h e r p e r c e p t i o n s o r r e p r o d u c t i v e e x p e r i e n c e s , p e r c e p t i o n s w h i c h a r e o r i g i n a l l yi l l u s i o n i s t a n d a r e i n c o n f r o n t a t i o n w i t h o t h e r p e r c e p t i v e m o m e n t s [ H u a ,X X I I I / 5 1 6 ] . B u t w h e n i t c o n c e r n s a t h e a t r e p e r f o r m a n c e , w h a t a p p e a r s i s a p l a y( a f r a g m e n t o f t h e w o r l d o f m a k e - b e l i e v e ) ; h e r e o n e d o e s n o t b e g i n w i t h an o r m a l p e r c e p t i o n , o n e d o e s n o t s t a rt f r o m t h e r e a l it y o f t h e p e r c e p t i v e l ym a n i f e s t i n g ; f r o m t h e o u t s e t w e k n o w t h a t w h a t w e s e e i s n o t s o m e t h i n g r e a l , a llt h a t is s e e n h a s a n u l l i f y in g c h a r a c t e r . T h e r e a l b e c o m e s e x i s t e n t i a l l y n e u t r a la n d m a k e s i t p o s s ib l e f o r t h e u n r e a l to r e a c h t h e f o r e g r o u n d , t o b e s e e n a s r e a l .

    I t i s n o t t h e s a m e a s w h e n w e h a v e a p u r e i l l u s io n b y w h i c h w e s t a n d o n t h eg r o u n d o f e x p e r i e n c e , s o w e c o u n t e r p o i s e t h e e x p e r i e n t i a l to t h e i l l u s iv e a n dt h u s n e g a t e t h e l a tt e r . I n t h e c a s e o f t h e a t r ic a l i l l u s i o n , i t is a n i l l u s i o n o f a d i f f e -r e n t k i n d : w e a c c e p t i t, it i s o u r s t a r ti n g p o i n t , w e s e e i ts o b j e c t s a s o b j e c t s o fr e a l it y . It s h o u l d b e a d d e d h e r e t h a t th e s p e c t a t o r n e v e r c o n f u s e s t h e r e a l w i t ht h e m a k e - b e l i e v e ; t h e ar t i s t i c image w h i c h w e a c c e p t a s a r e p r e s e n t a t i o n o fr e a l it y is r e al i ty f o r u s , b u t re a l it y o f a s p e c i a l k i n d w h i c h w o u l d n o t b e m i x e du p w i t h r e a l it y ; w e m a y c o n d i t i o n a l l y s a y t h a t i t i s a n image o f rea li ty .

    O u r u n m o d i f i e d e x p e r i e n c e is c o v e r e d b y t h a t i m a g e o f r e a l it y . In t h es p e c t a t o r ' s c o n s c i o u s n e s s t h e r e a re s i m u l t a n e o u s l y t w o l a y e r s o f e x p e r i e n c e o f

    t h e s a m e t h i n g , b u t t w o l a y e r s o f s u c h s tr u c t u r e t h a t c a n n e v e r m e r g e ;o t h e r w i s e w e w o u l d l o s e t h e i r s p e c if i c d i f fe r e n c e , w h i c h i s w h e r e t h e p o s s i b i l it yf o r th e s p e c t a t o r t o l a t e r f o r m h i s i m a g e o f a w o r k o f a r t li e s, i n o t h e r w o r d s ,w h a t i s c a l l e d aes the t ic ob jec t Gegens tand) i n a e s t h e t i c s . T h i s c o n c r e t i z a t i o n i sa r e s u lt o f a p u l s a ti n g m o v e m e n t b e t w e e n t w o r e a l it i e s w h i c h a p p e a r o n s t a g e.A s s o o n a s t h e c u r t ai n r i se s t h e s p e c t a t o r is f o u n d o n t h e g r o u n d o f i ll u s i o n a n dm a k e - b e l i e v e ; h e r e m a i n s c o n s c i o u s o f t h a t u n t i l t h e e n d o f t h e p e r f o r m a n c e .H a v i n g f o u n d h i m s e l f o n t h e g r o u n d b u il t b y t h e p e r c e p t io n o f f a n t as y h e b e g i n sa c t i v e l y to j u d g e , f e a r , h o p e , s u f f e r ; a l l t h i s, r e m i n d s H u s s e r l , i s d o n e b y t h es p e c t a t o r i n a n a s i f m o d e , in th e m o d e o f fa n t as y . O t h e r w i s e h e w o u l d n o t b ea b l e t o re m a i n c a l m a n d w o u l d n o t b e a b l e to e n d u r e t h e i n t e n s i ty o f t h ee x p e r i e n c e o f w h a t h a p p e n s o n s t a g e . T h i s j u s t i f i e s t h e t h e s i s t h a t it is n o t am a t t e r o f a r e a l e x p e r i e n c e , b u t a b o v e a ll a n a r t is t ic e x p e r i e n c e .

    T h e r e a r e r e a s o n s t o s u p p o s e t h a t t h is r e l a ti o n s h i p o f t h e a c t o r a n d w h a t t a -k e s p l a c e o n s t a g e is o f m o r e r e c e n t d a t e ; t h e G r e e k s d i d n o t s e e a n e m b o d i m e n to f f i c ti o n , b u t a b o v e a l l a m a n i f e s t a t io n o f tr u e e x i s t e n c e . T h a t i s w h y w h a t h a p -p e n e d i n th e t h e at r e w a s s o m o v i n g a n d w h y t h e y , w a t c h i n g w h a t c o u l d n o t b es e e n i n r e a l it y , w a t c h e d , i n f a c t, w h a t l a y i n t h e s t r u c t u r e o f t h i n g s o r , m o r e p r e -

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    18 MILAN UZELACc i s e l y , i n th e s t r u c t u r e o f th e c o s m o s . T h e r e p r e s e n t e d d i d n o t h a v e a m o d e o ff i c t i o n f o r t h e m , i t w a s a m a n i f e s t a t io n o f r e a l b e i n g i n i ts t r u e , u n h i d d e n f o r m .

    S i n c e w h a t w a s r e p r e s e n t e d o n s t ag e w a s a d r a m a o f th e c o s m o s p l a y i n gw i t h i t s e l f b y u s i n g b o t h g o d s a n d p e o p l e i n i ts p l a y , s o t h e l a t te r a r e p l a y t h i n g si n a t w o f o l d m a n n e r : o n c e p l a y t h i n g s o f t h e w o r l d , a n o t h e r t im e p l a y t h i n g s o fg o d s ; s o t h e a c t o rs o n s t a g e w e r e o n l y a m a n i f e s t f o r m o f c o s m i c p o w e r s -c o n f r o n t e d p r i n c i p le s f r o m w h o s e c o n f l i c t t h e w o r l d a r i s es , b o t h o n s t a g e a n d i nt h e s p e c t a to r s c o n s c i o u s n e s s . A c t o r s w o r e m a s k s t h e n b e c a u s e t h e y w e r e n o ti n d i v i d u a l s ( a n i n d i v i d u a l, a s ri g h t ly n o t e d b y N i e t z s c h e , c a n o n l y b e c o m i c b u tn o t t r a g ic ) , b u t i n c a r n a ti o n s o f p o w e r . T h e i r r o l e ( f r o m t h e t e c h n i c a l s i d e ) w a se a s i e r t h a n t o d a y b e c a u s e t h e r e w e r e n o p r o b l e m s w i t h m i m i n g o r g e s t u r e s -w h a t w a s n e c e s s a r y w a s o n l y t o u t t e r th e t e x t c l e a r ly a n d a r t i c u l a te l y ; o n t h eo t h e r h a n d , t h e i r ta s k w a s a l s o m o r e d i f f i c u lt b e c a u s e t h e i r r e s p o n s i b i l i t y w a sg r e a t e r : b y t a k i n g p a r t in d r a m a t i c e v e n t s t h e y a l s o t o o k p a r t i n t h e w o r l d o r d e r ,t h e y w e r e t h e w o r l d i t s e lf a n d d r a m a t h e n w a s a s k i l l w i t h o u t a r t .

    I f th e s i t u a t io n h a s c h a n g e d s i n c e t h e d e c l i n e o f G r e e k a r t a n d i f th e r o l e o fa c t o r s i n th e n e w a g e i s d i f f e re n t , i f n o w , b y u s i n g r e a l m e a n s , t h e y i m p e r s o n a t er e a l c h a r a c t e r s in o r d e r t o a c h i e v e t h e e f f e c t o f th e u n r e a l , w e m a y a s ko u r s e l v e s , i n w h i c h w a y d o t h e y m a n a g e t o r e p r e s e n t t h e a b o v e m e n t i o n e dquasi-reality? I f th e a i m o f th e a t r e , a s f i n e l y r e m a r k e d b y H u s s e r l , i s putting-into-work Ins-Werk-Setzung), a n d w e k n o w t h a t o n e o f h is r e n o w n e d d i s c i p l e sw o u l d l a t e r s a y t h a t a r t i s putting-into-work-of-truth Ins-Werk-setzen-der-Wahrheit) i t c o u l d b e p o s s i b l e to s a y t h a t t h e n e w t h e a t r e n o l o n g e r h a s a i m s t oe d u c a t e t h e s p e c t a t o r s t o w a r d s t h e t r u t h ( a s i n a n t i q u i t y ) b u t t o w a r d s a n o t h e rp e r c e p t i o n : t h e a t r e to d a y p r e p a r e s t h e e x p e r i e n c e h o w t o a r o u s e d o u b l ea p p e r c e p t i o n , d o u b l e p e r c e p t i v e u n d e r s t a n d i n g .

    The quasi -world o f t h e quasi-experiential c h a r a c t e r o n s t a g e i s i n f i n i t e l yi n d e f i n i t e [H u a , X X I I I / 5 3 5 ] i n t h e s a m e m e a s u r e a s t h e w o r l d l y i n g o u t s i d e o u rc u r r e n t e x p e r i e n c e i s i n d e f in i t e , c o n t a i n i n g w i t h i n i t s e l f a p o s s i b i l i t y o f f a n t a s t i cm o d i f i c a t i o n , a p o s s i b il i ty o f a p p e a r a n c e o f fi c t io n a l b e i n g s , o n l y f i c t i o n a l l yc o n f r o n t e d b e f o r e u s in t h e i r s t a g e re a l i ty . T h e c o n f r o n t a t i o n r e m a i n s , a n d o n ec o u l d s a y t h a t it is p e r m a n e n t l y p r e s e n t i n t h e g e n e s i s o f a d r a m a t i c f o r m ,a l t h o u g h i t h a s l o s t i ts o r ig i n a l s e n s e l o n g a g o . T h e e s s e n c e o f c o n f r o n t a t i o n h a sf a l l e n i n t o o b l i v i o n a n d d r a m a i s r u l e d b y f i c ti o n .

    T h e f i c t i o n a l, a r i si n g b e f o r e u s w h i l e w e a r e i n t h e t h e a t re , i s n o t t h e e s s e n c eo f t h e c o s m o s a t w o r k ; t h e f i c t io n a l i s re p r e s e n t e d i n t h e t h in g i t s e l f , a s o n e o ft h e g i v e n s t a te s i n it s o w n p e r c e p t i v e m a n i f e s t a t i o n ; t h a t is w h y w h a t w e r e a l l yp e r c e i v e i s f i c t i o n . H u s s e r l n o t i c e s t h a t i t i s o n l y a r e f l e c t i o n a n d a c e r t a i nputting-into-relationship lns-Beziehung-Setzen) o f t h e t w o a t t it u d e s ( r e a l a n df i c t io n a l ) in t h e i r g i v e n n e s s [ H u a , X X I I I / 5 1 8 ] . T h e a r t o f d r a m a h a s b e e nt r a n s f e r r e d o n t o t r a n s c e n d e n t a l g r o u n d Boden): t h e c o n f r o n t e d d a t a Gegeben-heiten) a b i d e o n t h e g r o u n d o f c o n s c i o u s n e s s .

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    RT ND PHENOMENOLOGY IN EDMUND HUSSERL 19A r t h a s b e c o m e a d o m a i n w i t h i n w h i c h o n e i m m e d i a t e l y l ea r n s t h e a b il i ty o f

    s i m u l t a n e o u s d o u b l e s e e i n g : th e w o r l d o f f ic t i o n a r is e s f r o m t h e r e a l w o r l d ; t h es t a t e s o f b o t h w o r l d s a r e i m m e d i a t e l y g i v e n to u s o n e b y t h e o t h e r , t h e yi n t e r t w i n e i n t h e s a m e c h a r a c t e r w h o i s b o t h a r e a l a n d a f i c t i o n a l p e r s o n ; t h es p e c t a t o r p o s s e s s e s t h e a w a r e n e s s a b o u t t h i s t w o f o l d n e s s a n d t h a t a w a r e n e s sm a k e s p o s s i b l e a e st h e ti c e n j o y m e n t o f a w o r k o f a r t w h i c h w e h a v e a l w a y s

    k n o w n t o b e f i c ti o n f r o m th e s t a n d p o i n t o f e v e r y d a y r e a l i t y . T h e p o s s ib i l i tyo f a e s t h e t i c p l e a su r e i s a n o t h e r s i g n o f c h a n g e d i s c u s s e d h e r e : t h e G r e e k s d i dn o t h a v e t h a t a es t h et i c a t ti t u d e t o w a r d s a d r a m a t i c w o r k a n d t h e y d i d n o t e n j o ya n a c t o r ' s a c t i n g , i .e . t h e y d i d n o t s e e o r s e e k i n a w o r k t h e s a m e a s w e d o . T h a ti s w h y t h e i r w o r k s a r e i r r e v e r s i b l y p a s t f o r u s .

    H u s s e r l s t r e s s es t h e p o s s i b i l i t y o f c h a n g e o f th e m a t i c a t t i tu d e : t h i s h a p p e n sw h e n o n e a b a n d o n s t h e g r o u n d o f r e a l i t y a n d s t a r t s a l i fe o f p e r c e p t i o n w h i c h i sn o l o n g e r f o u n d e d i n e x p e r i e n c e b u t i n f a n t a s y ; t h e n t h e w o r l d o f f a n t a s y i sb o r n , r e a c h e d b y t h e s p e c t a t o r b y t h e a c t o f n u l l i f y i n g r e a l i t y ; th i s a c t i s o fp a r t i c u l a r s i g n i f i c a n c e a s i t i s p r e c i s e l y w i t h i t s a p p e a r a n c e t h a t t h e d e f i c i e n c yo f p h i l o s o p h i c a l t h i n k i n g i s s h o w n , s i n c e p h i l o s o p h y i s u n a b l e t o r a i s e any i s s u ea n d a r r a n g e i t e x p l i c i t l y . I t i s a f a c t t h a t i t c o n s t a n t l y s t r i v e s t o w a r d s i t , t h a t i ts e e s i t a s i t s m o s t u r g e n t t a s k , b u t i t i s a l s o e v i d e n t t h a t i t c o n s t a n t l y f a i l s t oa t t a i n i t . B u t i n a r t s u c h a t h i n g is p o s s ib l e : o n l y a r t , b y e m b o d y i n g t h e t r a n s i t i o nf r o m t h e r e a l i n t o t h e f i c t i o n a l w o r l d i s i n t h e p o s i t i o n t o i m m e d i a t e l y ,p r a c t i c a l l y show b u t n o t express w h a t i s a c t u a l l y ta k i n g p l a c e t h e r e .

    T h e c o n s t i t u t e d p o s s i b i l it i e s w i t h i n t h e c o n s c i o u s n e s s o f f a n t a s y a r e n o t i nc o n f l i c t w i t h r e l a t i o n s o f r e a l i t y , b e c a u s e w e a r e c o n c e r n e d w i t h t w o s e p a r a t e ,p a r a l l e l W o r l d s : w h i l e t h e w o r l d o f e x p e r i e n c e s i g n i f i e s a n i n f i n i t e s y s t e m o fc u r r e n t e x p e r i en c e s w i t h h o r i z o n s o f e x p e r ie n c e w h i c h c a n a g a i n b e m a d ee x p l i c i t i n e x p e r i e n c e , s o w i t h i n t h a t s y s t e m t h e r e a r e l i t t l e ( s p e c i f i c a l l y l i m i t e d )s p h e r e s o f f r e e d o m , t h e w o r l d s o f f a n t a s y ar e c o m p l e t e l y f r e e w o r l d s a n d a n y

    i n v e n t e d t h i n g , as H u s s e r l n o t i c e s, h a s s u c h a w o r l d a s a p r e c o n d i t i o n o f i tse x i s t e n c e [ H u a , X X I I I / 5 3 4 - 5 3 5 ] .

    T h e w o r l d o f f a n ta s y d o e s n o t h a v e a l i m i t e d h o r iz o n , i t e x t en d s d e p e n d i n go n t h e p o w e r s p o s s e s s e d b y t h e o b s e r v e r ; a t t h e s a m e t im e , th i s u n l i m i t e dh o r i z o n c a n n o t b e m a d e e x p l ic i t b y m e a n s o f a d e f i n i t e a n a l y s i s o f e x p e r i e n c e .F a n t a s y i s c h a r a c t e r i z e d b y i t s a r b i t r a r i n e s s , i n t h e p o s s i b i l i t y t o a s s u m em u l t i f a c e t e d f o r m s , a n d a t t h e s a m e t i m e , i n a l l i t s m o d i f i c a t i o n s , t o r e m a i n i nc o r r e s p o n d e n c e w i t h t h e w o r k u p o n w h o s e g r o u n d i t a r i se s . T h e r e f o r e , i f t h e a r to f a c t i n g m o d i f i e s t h e s p e c t a t o r , t h e s p e c t a t o r ' s c o n s c i o u s n e s s i s t h e o n l y p l a c ew h e r e t h i s s k i l l c a n b e m a d e c o n c r e t e ; c o n s c i o u s n e s s i s a c o n d i t i o n o f t h ed u r a b i l i t y o f a c t i n g a n d , h a v i n g f o u n d i t s e lf in a t r a n s c e n d e n ta l d i m e n s i o n ,a c t i n g a s a n a r t b e c o m e s c o n s t a n t a s a p r i n c ip l e o f s e e i n g a n d e x p e r i e n c i n g t h ew o r l d i n i ts d i v e r s i ty .

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    2 MILAN UZELAC

    3. Real it y o f the Wo rm o f PoetryA p o e m , in i ts li n g u i s t i c b o d y a s w e l l a s in i ts s p i r i t u a l f o r m , is a n idea to

    a g r e a t e r o r l e s s e r e x t e n t i d e a l l y m a t e r i a l i z e d i n t h e a c t o f r e a d i n g i n a n i n f i n i t en u m b e r o f w a y s . I t i s, a s p o i n t e d o u t b y H u s s e r l i n a l e ss w e l l - k n o w n w o r k , a ni n d i v i d u a l , o b j e c t i v e i d e a [H u a , X X I H / 5 4 3 ] ; a n e s s e n t i a l q u a l i t y o f t h i s i d e aw o u l d c o n s i s t i n p o s s e s s i n g i t s o w n t i m e n e s s o r i g i n a l l y ( i n t h e l i n g u i s t i c i d i o m )s e t u p b y t h e a r t i s t . T h u s t h e p o e t m a k e s t h e i d e a l i n t e r s u b j e c t i v e l y a c c e s s i b l e ,s o a n y s u c h o b j e c t i f i e d i d e a ( e s p e c i a l l y o n e w h i c h i s a n e x p r e s s i o n o f t h eb e a u t i f u l a n d t h e w o r t h y ) , o b j e c t i v e l y c o n s i d e r e d , i s a work. T h i s i m m e d i a t e l yr a i s e s t h e q u e s t i o n o f t h e p o e t, a s w e l l a s h i s p l a c e i n t h e w o r l d o f a rt . W h o , i nf a c t , is t h e p o e t a n d w h a t i t i s t h a t h e c a n s e t u p ? I s i t a m a t t e r o f a s p e c i a lp o w e r , a p o w e r o f c o n s t it u t i n g , w h i c h l ie s o u t s i d e t h e s p h e r e o f r a t i o n a l g r a s pa n d i n t e r p r e t a t i o n , o r i s i t a p e c u l i a r w a y o f c o n s t i t u t i n g i n w h i c h t h e p o e t i c o ft h e p o e t i c i s r e f l e c t e d i n it s f u l l t r a n s p a r e n c e ?

    I t i s e s p e c i a l l y s i g n i f i c a n t t h a t H u s s e r l i n t h e q u o t e d t e x t a p p r o a c h e s t h e f o r m -i n g o f a p o e m t o t h e p o w e r o f f a n t a s y : w i t h t h e s t a r t i n g p o i n t s ( 1 ) t h a t i n a n y f a n -t a s i z i n g t h e r e i s t h e f a n t a s i z e d ( t h a t w h i c h l i v e s i n f a n t a s y , i .e . f a n t a s i z e d r e a l i -t y ) a s w e l l a s ( 2 ) t h a t t h e r e a d e r a s t h e c u r r e n t s u b j e c t p o s s e s s e s f a n t a s y i n a no n t i c s e n se , H u s s e r l s u g g e s t s t h at i n a n y r e s e ar c h o f t h e n a t u r e o f a p o e m o n em u s t p r e v i o u s l y s e a r c h t h e g r o u n d o f it s o r i g i n ( a n d a t th e s a m e t i m e t h e g r o u n do f i t s r e c e p t i o n ) , i . e . t h e c r e a t i v e s u b j e c t w h i c h m a t e r i a l i z e s f i c t i o n a s ac o n s t a n t , i n t e r s u b j e c t i v e l y a c c e s s i b l e o b j e c t . T h i s b r i n g s u s b a c k t o t h e q u e s t i o n ,w h o , i n f a c t , i s t h e p o e t a n d w h a t i s t h i s p o w e r o f r e a l i z a t io n h e p o s s e s s e s i n t h em o m e n t o f c r e a t io n o f a p o e t i c w o r k ? H o w i s it p o s si b l e t o s a y t h a t i t isp r e c i s e l y a p o e t i c w o r k t h a t i s c r e a t e d i n t h a t m o m e n t ? I s n ' t t h e r e r o o m f o rd o u b t t h a t it c o u l d b e a m a t t e r o f s o m e t h i n g e l se , s o m e t h i n g m i s u n d e r s t o o d ,m i s i n t e r p r e t e d , f i n a l l y , s o m e t h i n g t h a t i s r a t h e r a n y t h i n g e l s e b u t a p o e m i n i t sp r i m o r d i a l f o r m ?

    B u t w h a t c a n b e t h e m e a n i n g o f t h e s t a t e m e n t th a t i t i s a m a t t e r o f a p o e m i ni t s p r i m o r d i a l f o r m ? A p o e m d o e s n o t a r is e f r o m t h e p r i m o r d i a l , i t h a s n oc o m m o n p o i n t s w i t h t h e p r i m o r d i a l ; i t o w e s i t s e x i s t e n c e t o a c c i d e n t a lc i r c u m s t a n c e s w h i c h a r e o n l y s h o w n t o b e p r i m o r d i a l i n i t s f u r t h e r e x i s t e n c e .T h e o r i g in o f a p o e m i s r e l a te d t o t h e p o e t a n d h i s o r i g in i s o n l y s u b s e q u e n t l yb l e n d e d w i t h t h e w o r k w h i c h h e c r e a t e d i n o n e m o m e n t o f h i s e x i s t e n ce ; i f h er e n d e r e d h i s f i c t i o n a l d r e a m i n t o a n e x i s t i n g t i s s u e , h e o n l y s h o w e d t h a t t h es p h e r e o f f i c t i o n is n o t a n a u x i l i a r y fi e l d w e w o u l d t a k e r e c o u r s e t o o n l y i n t h em o m e n t s w h e n w e f a i l t o e s ta b l i sh m e a n i n g f u l r e l a t i o n s w i t h i n t h e w o r l db o r d e r e d b y r e a l i t y a n d o u r h a l f - d r e a m t d r e a m s .

    P l a c i n g t h e p r o b l e m o f f i c t i o n in t h e c o r e o f a n a l y s e s l e a d s H u s s e r l t o t h eq u e s t i o n o f t h e o n t o lo g i c a l d i m e n s i o n o f a w o r k o f a rt ; o n l y o n e s t e p le a d s f r o mt h e r e t o o p e n i n g t h e p o s s i b il i t y f o r a c o m p r e h e n s i v e o n t o l o g y o f a r t w h i c h

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    RT ND PHENOMENOLOGY IN EDMUND HUSSERL 21w o u l d m a k e p o s s i b le a n o n t o l o g i c a l i n t e r p re t a t io n o f a w o r k o f a r t; i t w o u l d b em i s l e a d i n g t o t h i n k t h at H u s s e rl w a s l e d b y t h e d e m a n d f o r s o l v i n g a e s t h e t icp r o b l e m s p r e s e n t i n t r e a t i s e s a t t h e b e g i n n i n g o f t h i s c e n t u r y . I t w o u l d b ei n c o r r e c t t o s t a r t w i t h , b e c a u s e m o s t r e s e a r c h o f t h a t k i n d a t t h e t i m e w a s s t i l li m b u e d w i t h t h e y e t l i v i n g , d o m i n a t i n g p s y c h o l o g i s m ; a t t h e s a m e t i m e , t h i sm e a n s t h a t t h e o n t o l o g i ca l d i m e n s i o n o f a w o r k o f a r t w a s f a r i n t h eb a c k g r o u n d ; i t w a s r a i s ed o n l y t h a n k s t o t h e w o r k s o f N . H a r t m a n n , b u t o n t h eb a s i s n o t o n l y o n H e g e l s b u t a l s o H u s s e r l s f u n d a m e n t a l i d e a. T h i s f a i l u r e t oc o m p r e h e n d t h a t e n t ir e p h e n o m e n o l o g y c a n b e c o n c e i v e d s o l e l y a s o n t o l o g y i si n c o m p r e h e n s i b l e i t s e l f ; i t i s u n d e r s t a n d a b l e o n l y i f w h a t o n e h a s i n m i n d a r eo n l y t h e t r a d it i o n a l d e f in i t io n s o f m e t a p h y s i c s , d i s r e g a r d i n g i t s m e t a m o r p h o s e s ;f i n a l l y , a l l p h i l o s o p h i c a l t h i n k i n g i s a n d r e m a i n s m e t a p h y s i c a l t o i t s u l t i m a t eb o u n d a r i e s. W h a t r e m a i n s d i s p u t ab l e i s , o f c o u rs e , t h e d e t e r m i n a t i o n o fm e t a p h y s i c s , b u t i f w e u n d e r s t a n d i t c o r r e c t l y , i f w e g r a s p i t w i t h o u t a l l th ei d e o l o g ic a l a n d e x t r a - p h i lo s o p h i c a l a d m i x t u r e s , t h e re h a r d l y r e m a i n s a n y r o o mf o r a m b i g u i t y ; i t w i l l b e s h o w n t h a t w e a r e f a c e d w i t h a n u n r e a l p r o b l e m , w i t hs o m e t h i n g w h i c h , i n f a c t , i s n o t a p r o b l e m a t a l l . A l l t h e d r e a m s a b o u t n o n -m e t a p h y s i c a l t h i n k i n g w i l l m e l t l i k e so a p b u b b l e s .

    I t ta k e s a l o n g t i m e t o u n d e r s t a n d t h a t t h o s e b u b b l e s a r e o n l y m e t a p h o r s b ym e a n s o f w h i c h w e s e e k t o f a t h o m t h e u l t i m a t e l im i t s b o r d e r i n g t h e p r i m o r d i a ld o m a i n o f t h e p o e m ; b e a r i n g i n m i n d t h a t a g re a t n u m b e r o f t h e o r e t ic i a n s t h i n kt h a t m e t a p h o r i s t h e k e y to t h e u n d e r s t a n d i n g o f a p o e m , t h a t t h e re c a n b e n op o e m w i t h o u t m e t a p h o r ( w h i c h m a y b e c o r r e c t , b u t b y n o m e a n s c a n i t b e ad e m a n d p o s e d b e f o r e a p o e t ) ; i t c o u l d b e c l a i m e d t h a t a p o e m i s d e f i n e d b yc e r t a i n c o n f i g u r a t i o n s o f c o n c e p t s w h o s e s u p e r n a t u r a l n a t u r e i s s u p p o s e d t oe m a n a t e a t r a n s - r a t i o n a l r e a l i t y . A f u n d a m e n t a l r e s e a r c h s h o w s a l l t h i s t o b ew r o n g . T h e w o r k o f a p o e t s h o u l d n o t b e m y s t i f i e d , n o r s h o u l d t h e r e su l t o f h i si d e a s I~e m y s t i f i e d . A f i n a l s c i e n t i f i c a n a l y s i s ( u n l e s s w e d e c i d e t o c o n t e s t t h ep o w e r o f s c i e n c e i n t h i s a s p e c t ) w o u l d s h o w t h a t p o e t r y a n d t h e p o e t i c e n t i r e l yc o n f o r m s w i t h t h e m a t e r ia l d o m a i n o f r e s e a r c h w h i c h i s , p er h a p s s l i g h t l ye x t r a v a g a n t l y , in a u g u r a t e d p r e c is e l y b y p h e n o m e n o l o g i c a l p h i l o s o p h y .

    I t s h o u l d t h e r e f o r e b e h a r d l y s u r p r i s i n g t h a t H u s s e r l i n h i s w o r k s d o e s n o ta i m t o w a r d s s o l v i n g a r t i s t i c i s s u e s , b u t w h e n h e c o n f r o n t s d i f f i c u l t i e s h e u s e s i ta n d i t s l e a d i n g c o n c e p t s t o d e v e l o p f u n d a m e n t a l t h e s e s o f e v e r a r i s i n gp h e n o m e n o l o g i c a l p h i l o s o p h y w h i c h , i n tu r n , h a d f r o m t h e o u t s e t b e e n f o c u s s e do n t h e r e s e a r c h o f s u b j e c t i v i t y , s o i t h a d t o p u t i n t h e f o r e g r o u n d t h e e s s e n t i a lw a y s i n w h i c h a s u b j e c t ( a n d , i n f i n a l c o n s e q u e n c e , s u b j e c t i v i t y ) i s m a n i f e s t e d :t h u s w h a t a p p e a r e d i n t h e f o r e g r o u n d a s a c r e a t i v e m o m e n t i n t h e c r e a t i o n o f ap o e t i c w o r k w a s f a n t a s y , w h o s e p r e s e n c e w a s m o s t c o n s p i c u o u s . E v e n i f i t w a sn o t a b a s i c c h a r a c t e r i s t i c o f p o e t r y , t h i n g s w e r e e v a l u a t e d w i t h r e g a r d t oj u d g m e n t s a r i s i n g o n t h e g r o u n d o f f a n t a s y , b e c au s e i n th e c o n s c i o u s n e s s o f t h e

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    22 MIL N UZEL Ch i s t o r y o f p o e t r y t h e r e w a s a c e r t a i n i n f l u e n t i a l t r a d i t i o n o f i n t e r p r e t i n g t h e a r to f p o e t r y w h i c h a s c r i b ed d e c i s i v e s i g n i f i c a n c e to t h e p o w e r o f f a n t a s y .

    A c h a r a c t e r i s t i c o f f a n t a s y i s th a t l o g i c a l t h i n k i n g a n d f o u n d a t i o n l a y i n g d on o t t a k e p l a c e w i t h i n it . B u t w h a t does foundation laying m e a n h e r e a t a l l ? W h oi s t h e o n e t h a t f o u n d s a n d w h a t i s b e i n g f o u n d e d ? A t f i r st s i g h t o n e m i g h t s a y : i ti s t h e p o e t t h a t d o e s t h e f o u n d i n g , a n d t h e f o u n d e d i s t h e p o e m . I s t h e s e c o n dp a r t o f t h e a n s w e r c o r r e c t ? I t is t h e p o e m t h a t i s b e in g f o u n d e d o r o n l y t h a tw h i c h m a k e s i t p o s s ib l e ? I s n ' t t h e p o e m o n l y a r e s u l t o f s o m e t h i n g t h a t e x i s t e dp r i o r t o it , s o m e t h i n g t h a t m a k e s p o s s i b l e f o r t h e s t a t e m e n t s w i t h i n t h e p o e m t ob e f a m i l i a r a n d a t t h e s a m e t i m e t o c o n t a i n i n f i n i t e u n p r e d i c t a b i l i t y ? W h o i sa b l e t o c la i m t h a t a p o e m e x i s ts o n l y f o r t h e p o e t a n d n o t f o r t h e o n e w h o k n e wi t b e f o r e i t w a s w r i t t e n ? H e r e , o f c o u rs e , w e a r e b y n o m e a n s d e a l i n g w i t h at e l e o l o g i c a l j u s t i f i c a t i o n o f t h e p o e m . S u c h c o n s i d e r a t i o n s a r e o u t o f p l a c e i np h e n o m e n o l o g y . W h a t i t i s p r i m a r i l y a b o u t i s t h a t t h e p o e m e x i s t s p r i o r t o i t sm a n i f e s t f o r m s . B y i t s i m m e r s i o n i n t o a n o t h e r r e a l i t y i t i s a f o u n d a t i o n f r o mw h i c h s p r i n g a l l t h e i n t e r p r e t a t i o n s a n d j u s t i f i c a t i o n s o f t h e r e a l i t y i n w h i c h w e( n o t b y o u r o w n f a u l t ) h a p p e n t o b e .

    A l l p o e t i c s t a t e m e n t s a r e as f s t a t e m e n t s o r , a s o n e m a y p u t i t i n a c c o r d a n c ew i t h A r i s t o t l e ' s c o n c e p t i o n o f a r t: a l l l i t e r a r y s t a t e m e n t s a r e n e u t r a l w i t h r e g a r dt o b e i n g . T h i s n e u t r a l i t y i s w h a t m a k e s i t p o s s i b l e f o r u s t o e n j o y a w o r k o f a r ta t a l l, b e c a u s e i t a ll o w s u s t o e n j o y i n t h e representation o f a n o b j e c t a n d n o t t h eo b j e c t r e p r e s e n t e d . E n j o y m e n t i n t h e l a t t e r w o u l d p r o v e t h e w o r k t o b e a f a i l u r e ,o n l y a s u r r o g a t e i n t h e r e a l w o r l d , i t w o u l d m e a n t h a t w e a r e a c t u a l l y u n a b l e t od i s t i n g u i s h a w o r k o f a r t f r o m t h e s t a t e o f a f f a i r s i n t h e w o r l d . I t i s t h e r e f o r eh a r d l y a c c i d e n t a l t h a t t h e e s s e n c e o f f i c t i o n w i t h a l l i t s m o d e s o f r e a l i t y a l w a y s

    s t a n d s b e f o r e o u r e y e s a s a l i v e p r e s e n t m o m e n t ; i n th i s w a y i t is , c o n f i r m e dt h a t r e a l i t y ( a s w e s e e i t , a s r e a l r e a l i t y ) i s n o t a p o s s i b i l i ty , a n d p o s s i b i l i t y i sn o t r e a l i t y , s o a n y m e n t i o n o f f o u n d a t i o n s a n d f o u n d a t i o n l a y i n g i n s u c h ac o n t e x t s h o u l d b e t a k e n c o n d i t io n a l l y : it is p r i m a r i ly a m a t t e r o f n e u t r a l i z a t i o nw h e r e t h e b u i l d i n g o f a f i c t i o n a l w o r l d n u l l i f i e s t h e p e r c e p t i o n o f t h e r ea l w o r l d .

    I f t h i s i s t h e w a y t h i n g s a r e u n d e r s t o o d , t h e n i t i s p r e c i s e l y a r t t h a t o f f e r s a ni n f i n i t e m u l t i t u d e o f p e r c e p t i v e f i c t i o n s a m o n g w h i c h c a n b e d i s t i n g u i s h e da l r e a d y a t f i r s t s i g h t ( a ) p u r e l y p e r c e p t i v e a n d ( b ) p u r e l y r e p r o d u c t i v e f i c t i o n s .A t t h e s a m e t i m e , t h e p r o c e s se s o f f a n t a s y d o n o t t a k e p l a ce i n d e p e n d e n t l y f r o mu s a l t h o u g h t h e y d o h a v e t h e i r o b j e c t i v it y d e s p i te b e i n g p r e s c r i b e d f o r u s i n ac e r t a in m a n n e r ; i t c a n e v e n h a p p e n t h a t w e f e e l t h a t t h e y a r e i m p o s e d o n u s( t h o u g h n o t i n t h e s a m e w a y ) a s t h i n g s o f t h e re a l w o r l d [ H u a , X X I I I / 5 1 9 ] .T h o s e a r i si n g f a n t a si e s o r ig i n a t e i n th e w o r k a n d c a n n o t a r i s e i n d e p e n d e n t l y o ft h e s u b j e c t a n d t h i n g s ; o n e m a y r a t h e r s a y t h a t t h e y a r i s e i n c o l l a b o r a t i o n , i n

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    RT ND PHENOMENOLOGY IN EDMUND HUSSERL 23i n c e s s a n t p u l s a t i o n b e t w e e n t h e s u b j e c t a n d t h i n g s . F r o m t h e n o e t i c s t a n d p o i n te x p e r i e n c e a n d f a n t a s y a r e in s y n t h e s i s , t h e y b u i l d u p a c o m p o s i t i o n a l u n i t yw h i c h w o u l d b e s t b e d e s c r i b e d b y s a y i n g t h a t i t i s p r e c i s e l y t h a n k s t o t h e m t h a ti t i s p o s s i b l e t o s p e a k o f b u i l d i n g u p t h e u n i t y o f c o n s c i o u s n e s s a s a f o u n d a t i o nu p o n w h i c h w i t h i ts d e c i s i v e p o r t io n r e s t s t h e w o r l d o f a r t.

    W h e n t h e y s a y th a t t h e a rt is t h a s a b s o l u t e f r e e d o m i n c r e a t i o n , w h a t o n e h a si n m i n d i s a b s o l u te f r e e d o m i n p l a y i n g w i t h f a n t a s ie s , w h i c h h e p o s s e s s e st h a n k s t o t h e c o m p l e t e f r e e d o m i n t r e a t i n g p e r c e p t i o n s ; t h is , o f c o u r s e , i s o n l ys e e m i n g l y s o : a b s o l u t e f r e e d o m , s o m u c h r e l i e d u p o n i n t r e a t is e s o n a r t , is i nf a c t n o t t h e r e a n d i t n e v e r w a s t h e r e , n e i t h e r in t h e m o m e n t o f c r e a t io n o f t h ew o r k o f a r t n o r i n t h e m o m e n t o f i ts r e c e p t i o n ; o n e s h o u l d r a t h e r s p e a k o f t h ei l lu s i o n o f a b s o l u t e f r e e d o m t a k e n a s a p u r e p o s s i b il i ty w h i c h e x i s ts p r i o r t oc r e a t i o n i t s e l f . I n c r e a t i n g , t h e a r t i s t i s i n o n e w a y o r a n o t h e r f r o m t h e v e r yo u t s e t t i e d t o c e r t a i n a e s t h e t i c i d e a l s , w h e t h e r h e w a n t s i t o r n o t , w h e t h e r h e i sa w a r e o f it o r n o t , h e is a p r o d u c t o f th e t i m e w h i c h h e p a r t i a ll y p r o d u c e sh i m s e l f b y h i s p r e s e n c e a n d a c t i v i t y i n t h e s p h e r e o f a rt .

    W h a t k i n d o f f r e e d o m a r e w e d e a l i n g w i t h a t a l l? W h o d e t e r m i n e s t h a t f r e e -d o m a n d w h i c h f o u n d a t i o n d o e s i t s p r i n g f r o m ? H o w c a n o n e s p e a k a b o u t t h ef o u n d a t i o n s o f f r e e d o m w i t h o u t t a c k li n g n o n - f r e e d o m , w i t h o u t m e n t i o n i n g t h ev o i d f r o m w h i c h a n y t h i n g m e t a p h y s i c a l r is e s t o w a r d s i n f i n i t y ? M e r e p o s s e s s i o no f e l e m e n t l i nk s o f a w o r k o f a rt i s o n n o a c c o u n t a r e l i a b l e k e y t o u n d e r -s t a n d i n g w h a t a l w a y s e s c a p e s f i n a l u n d e r s t a n d i n g , a h i n t a b o u t w h a t t h e a r t is th a d e n v i s i o n e d o r s u c c e e d e d i n f i x a t in g i n a n o n t i c a l ly h i g h l y d o u b t f u l m a t e r i a l .

    T h e r e a d e r ( o r t h e o b s e r v e r ) m u s t s e e k t o f o l l o w t h e a r t i s t ' s i n t e n t i o n t or e n d e r t h e g i v e n n o v e l o r th e g i v e n d r a m a t i c w o r k w h i c h c o n t a i n s a f i c t io n a l l i f eo r f i c t i o n a l f a t e s i n t o a quasi experience [ H u a , X X I I I / 5 2 0 ] . I n t h i s w a y w h a t i sa l r e a d y f i c t io n a l i s a g a i n r e n d e r e d i n t o t h e f i c t i o n a l a n d t h u s a w o r l d o f f i c t i o ni s c o m p o s e d , n o t l e s s o b j e c t u a l t h a n t h e r e a l w o r l d ( t h o u g h n o t e q u a l l y r e a l , o fc o u r s e ) . S t a t e m e n t s o r j u d g m e n t s a b o u t t h e p e r s o n a l i t y o f a c h a r a c t e r in a w o r km a y b e g i v e n i n t h e w a y o f o b j e c t i v e r e a li t y , a l t h o u g h ( t h i s m u s t b e b o r n e i nm i n d ) t h e y r e f e r t o fi c ti o n s . W h i l e w e l iv e i n f a n t a sy w e p o s s e s s a n i m a g i n e dr e a l i ty a n d d u r i n g t h a t ti m e i t is t h e o n l y r e a l i ty f o r u s w h i c h p o s s e s s e s a no n t o l o g i c a l s e n s e ; a t t h e s a m e t i m e , a s r e a l b e i n g s , w e p o s s e s s f a n t a s y i n a no n t i c s e n s e , f i c t io n s a r e g i v e n t o u s a s o b j e c t h o o d , w e c o u n t o n t h e m , b u t a st h e m e n t i o n e d real beings w e a r e a w a r e o f th e r e a l it y a n d w e c a n n o t l i v e o n l y i nf i c t i o n . I t i s p r e c i s e l y t h a t a w a r e n e s s o f t h e r e a l i t y th a t m a k e s p o s s i b l e l i f e i n t h ew o r l d o f f i c ti o n a n d i t s a c c e p t a n c e a s a n a s - / f w o r l d .

    I t i s c l e a r t h a t t o f a n t a s i z e i s n o t t h e s a m e a s t o t r y o u t , b e c a u s e i n f i c t i o nt h e r e i s o n l y t h e f i c t i o n a l , w h i l e t h e r e a l i s f o u n d i n t h e e x p e r i e n t i a l s o a ni m a g i n e d i n d i v i d u a l i s n o t t h e s a m e a s a g i v e n i n d i v i d u a l ; t h i s i s n o t ri v i a lo b j e c t i o n t o p o e t r y ; o n t h e c o n t r a r y , i t is a m a t t e r o f r a is i n g t h e i s s u e o f t h ed i s t i n c t i o n b e t w e e n t h e t w o w o r l d s a n d t h e t w o f o l d n e s s i t s e l f , a s a f o u n d a t i o n

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    4 M ILA N U ZELA C

    upon which the possibility of poetry arises. Even if the content of fantasy can beexplicit and described, the individual content within fantasy is not the realcontent, which means that the language about the givenness of contents whichwe have in fantasy is a modified language, while the language of poetry shouldbe ultimately understood solely as an establishment of what all the time abidesoutside or below the very language reflected in thinking.The existence of a multiple possibility of answer is of special significance;what is manifested there is the multifaceted power of movement of thinking,rejecting at the same time the one way direction towards the object led by theHegelian idea of irreversibility. In this case the postmodem strategies have anundeniable advantage. Poetry presupposes multiplicity of interpretations, suchas musical works already carry in themselves the possibility of multipleinterpretations. Thus the reality of a poem can be understood in two ways: onceit is an imaginary world contrasted to the world of real facts, another time it isan array of possible materializations which make up the permanently unfinishedworld o f a work of art.

    It should be noted that the fictional character of objects does not imply thatrelations between them are fictional; things may be fictional, but the relations inwhich they are from the moment of creation of the work are not. These relationsoutlined from primordial times are not at the same time judgments in the realsense because they have as their object only characters and actions which existsolely in a certain a s / f m o d e ; the mentioned judgments express what we beingnot in the natural but a fictional position) expect; while describing the action ofa character in a novel or a drama, or their motives, we are undoubtedly in the aworld essentially shaped by fantasy, but instead of seeking simply to reproduceor mechanical ly repeat that power we develop its as i f sense through fantasizingand thinking in the elements of fantasy, we fulfill intentions, we perform whatpertains to life and action in the true perceptive quasi experiential interior ofthoughts or senses, i.e. in the interior of the motives which are usually obscureand hidden [Hua, XXIII/520].

    If a fictional person makes a judgment about a character, things or relationswhich in a certain way belong to the fictional picture created by the artist, thatjudg ment could be a fiction, but it could also be a judgment containing truth orfalsity, which would mean that all judgme nts contained in a work are subject toverification. Judgments within a work of art as separate realities could bemarked as quasi judgments and they are modifications of real judgment s, but assuch modifications they can be true or false, they are equally subject to alllogical but also non-logica l) laws, since logic does not give advantage to thegiven reality but expresses rules for any possible reality [Hua, XXIIV522].What takes place here is compliance with the logic which rules inside the workbut which ultimately remains strictly formal without affecting in any way the

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    RT ND PHENOMENOLOGY IN EDMUND HUSSERL 25i s s u e o f e x i s te n c e o f w h a t i s u t te r e d i n t h e w o r k , o r t h e r e la t i o n s b e t w e e n w h a te x i s t s i n t h e w o r k a n d i ts r e a l c o r r e l a t e .

    P e r h a p s i t i s h a r d l y c o i n c i d e n t a l t h a t t h i s t h e s i s o c c u p i e s t h e f o c u s o ft r e a t i s e s o n a r t t o d a y , s o I n g a r d e n r e n d e r s A r i s t o t l e ' s i n s i g h t o n t h e b e i n g -n e u t r a l s p h e r e o f a rt i n t o d i s c o u r s e o n quas i - s t a t emen t s w h i c h p r e s e r v e t h en e u t r a l it y a n d r e a l i t y o f a w o r k o f a r t, w h i c h w a s ri g h t l y q u e s t i o n e d b y K .H a m b u r g e r i n t h e e x a m p l e o f s t a te m e n t s w h i c h m a k e u p t h e te x t u r e o f ah i s t o r i c a l n o v e l . I t s e e m t h a t H e i d e g g e r i s q u i t e r i g h t t o q u e s t i o n t h e l o g i c a lf o u n d a t i o n s o f m e t a p h y s i c s , a s w e l l a s t h e f i g h t o f l o g ic t o u t t e r s t a t e m e n t s o nb e i n g ; w h a t i s, p e r h a p s , j u s t i f ia b l y c r i t i c iz e d h e r e i s a l o n g u n p r o v e d , d u b i o u sc l a i m o f l o gi c o n s o m e t h i n g t h a t c a n n o t b e d o n e w i t h o u t g o i n g b e y o n d o n e ' so w n l i m i t s a n d p o s s i b i l it i e s .

    I t c o u l d b e c l a i m e d t h a t H u s s e r l i s w r o n g i n w a n t i n g t o s u b o r d i n a t e t h es t a t e m e n t s o f a ll t h e re g i o n a l d o m a i n s t o t h e ru l e o f l o g i c b e c a u s e t h is n a r r o w st h e s p a c e p r e v i o u s l y a l l o t t e d t o r e g i o n a l o n t o l o g i e s ; t h e r e a r e r e a s o n s t o c l a i mt h a t t h e s p h e r e o f a r t e s c a p e s p r e c i s e l y t h e l o g i c a l o f l o g i c a n d t h a n k s t o i t o n ec a n c o n s t r u c t o n e ' s o w n l o g i c o f a r t w h i c h i s b y n o m e a n s a lo g i c o f t h e r e a lw o r l d ; f i n a ll y , it m a y b e i n t h e n a t u r e o f a rt to s e e t h e w o r l d f r o m t h e o t h e r s i -d e , s o w h e n H e i d e g g e r , in h i s B e i t r a e g e z u r P h i l o s o p h i e s p e a k s a b o u t K u n s t -losigke i t i .e . a b o u t t h e i m p o s s i b i li t y o f e x i s t e n c e o f a r t as a s y m