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    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/63345


    Title: Image and Imagination at the Crossroads: On Bachelard and Baudrillard
    Other Titles: 徘徊於十字路口的形象與想像：論巴修拉與波希亞
    Authors: Huang, Kuan-Min
    黃冠閔
    Contributors: 哲學系
    Keywords: Image;Imagination;Imaginary;World;Reality;Virtuality;Virtual reality;Metaphysics;Poetics
    形象;意象;影像;想像;世界;實在;虛擬性;虛擬實境;形上學;詩學
    Date: 2002-12
    Issue Date: 2014-01-07 17:18:21 (UTC+8)
    Abstract: Examining the problem of image and imagination in the modern age must face to a twofold difficulty: one is to consider the multiple theoretical delimitations in the traditional metaphysics; another comes from the abundance of digital images by technical simulation in which the image usurps the reality. This essay tries to investigate these two dimensions of image and imagination, by analyzing the visions of Gaston Bachelard and Jean Baudrillard. In the context of metaphysics of imagination, Bachelard takes effort to restore the creativity of poetic image. The image, according to Bachelard, can refer to the intimacy of human being and the world, neither responding to the epistemological demand of perception, nor conditioned by the psychological causality of the remembered past. The poetic image emphasizes the ontological status of image in language, and establishes an open principle of subjectivity for the imagination. Baudrillard is attentive to the significance of the overflow of images and criticizes this phenomenon by a more general irony. For him, the perfect simulation executes a seclusion strategy of reality — the reality murders the reality by making the reality appear. Therefore the imagination is strangled before the real image; meanwhile, the identity of reality devours the creativity implied in the difference. By this contrast, we try to sketch out the possible principle and difficulty of the metaphysics of imagination.
    檢討形象與想像的問題，在現代的電子紀元中，同時必須面對兩方面的困難，其一是傳統形上學的多重理論界定，另一面為今日來自科技模擬的電子影像充斥，逐漸使得形象、影像的地位竄奪了實在。本文藉由分析巴修拉與布希亞的觀點，對照地探索形象與想像的兩種面向。巴修拉的觀點扣在想像的形上學之脈絡下，嘗試恢復想像在詩意象中的創造功能。形象（意象）所涉及的是人與世界的內在親密性，因此，既非呼應於知覺的認識功能，也不受制於記憶中過去的心理因果律；詩意象特別突顯出語言中形象的存有論地位，從而為想像奠定一種非封閉的主體性原則。布希亞則注意到影像氾濫時代中的哲學意涵，他提出了深具反諷意味而更普遍的批判；逼真的模擬其實執行著「實在」的隱身策略─「實在」用顯現實在來謀殺實在。因此，在真實的影像面前，想像被扼殺了；而實在的同一性則吞噬了差異所蘊含的創造性。本文藉著這兩方面的檢討，嘗試將想像的形上學中可能的內在原則與困難勾勒出來。
    Relation: 政治大學哲學學報, 9, 25-62
    The national Chengchi university philosophical, 9, 25-62
    Data Type: article
    Appears in Collections:[政治大學哲學學報 THCI Core] 期刊論文

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