“当代现象学”一词指的是20世纪和21世纪哲学的广泛领域,其中对意识结构的研究占据了中心舞台。自从康德的“纯粹理性批判”的出现以及胡塞尔之后的现象学和诠释学的后续发展,已经不再可能将意识视为一个简单的科学研究对象。事实上,它是任何有意义的经验的前提条件,甚至是对世界物体的简单理解。虽然现象学意识的基本特征 – 意向性,自我意识,体现等等 – 一直是分析的焦点,但保罗利科和雅克德里达等大陆哲学家进一步增加了语言创造性维度。他们认为隐喻和象征是现实的主要解释者,在思辨思想中产生更丰富的感知,表达和意义层次。隐喻与现象学的相互作用在西方哲学史上长期存在的假设中引入了严重的挑战和含糊之处,主要是在真理对应理论中的文学与具象的现实模式之间的严格划分。自20世纪末以来,隐喻在认知结构生成中的作用已经被纳入并扩展到新的生产方向,包括“归化现象学”和直接的认知科学,特别是在G.Lakoff和M.的工作中。 Johnson,M。Turner,D。Zahavi和S. Gallagher。

英国白金汉大学Assignment代写:隐喻与现象学

The term “contemporary phenomenology” refers to a wide area of 20th and 21st century philosophy in which the study of the structures of consciousness occupies center stage. Since the appearance of Kant’s Critique of Pure Reason and subsequent developments in phenomenology and hermeneutics after Husserl, it has no longer been possible to view consciousness as a simple scientific object of study. It is, in fact, the precondition for any sort of meaningful experience, even the simple apprehension of objects in the world. While the basic features of phenomenological consciousness – intentionality, self-awareness, embodiment, and so forth—have been the focus of analysis, Continental philosophers such as Paul Ricoeur and Jacques Derrida go further in adding a linguistically creative dimension. They argue that metaphor and symbol act as the primary interpreters of reality, generating richer layers of perception, expression, and meaning in speculative thought. The interplay of metaphor and phenomenology introduces serious challenges and ambiguities within long-standing assumptions in the history of Western philosophy, largely with respect to the strict divide between the literal and figurative modes of reality based in the correspondence theory of truth. Since the end of the 20th century, the role of metaphor in the production of cognitive structures has been taken up and extended in new productive directions, including “naturalized phenomenology” and straightforward cognitive science, notably in the work of G. Lakoff and M. Johnson, M. Turner, D. Zahavi, and S. Gallagher.

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