Du rôle de la phantasia au théâtre et dans le roman

Richir, Marc

doi:10.3406/litt.2003.1817

Cited by 6 publications

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“…. without ever being present" (Richir, 2003). This is a way of saying that the character is in his "presence" there, though absent in a real spatio-temporal sense.…”

Section: In the Theatermentioning

confidence: 99%

“…This involves, as we have hinted above, a transposition from the interior nonintentional and objectless grasp of the phantasia to the object-intentionally laden act of imagination with the consequence of an original distortion of the apperception of the phantasia to simulacra (perceptive appearance). This means that the tendency of the imagination to fix the instability of the phantasia on this or that "image" (on this or that model) can lead to a radical destruction of the vivacity of the latter, i.e., to an impoverishment of the most important "activity" (Richir, 2003) of our human mind. 18 This concept was inspired by Husserl's n. 18 of the HUA XXIII (and in the context of theatrical performance), in which the "perceptive" phantasia was treated as a "perception" that goes beyond what is given in pure perception (Wahrnehmung).…”

Section: "Perception" Of the "Sache" In The "Perceptive" Phantasiamentioning

confidence: 99%

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Appreciation of Art as a Perception Sui Generis: Introducing Richir’s Concept of “Perceptive” Phantasia

Ekweariri

2021

Front. Psychol.

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In the Origin of the work of art, Heidegger claimed that the work of art opens to us the truth of Being, the opening of the world. Two problematics arise from this. First, his idea of “world-disclosure” evoked a sense of everydayness (which captures, for me, the idea of credulism in perception). Second, the senses of truth, Being, and world are metaphysically condensed. Hence the question: how then could the “truth of Being” or the “world” that artworks reveal be experienced? Among other ways (mimesis, imagination, perception, etc.) by which artworks are experienced, I choose to examine perception since it confirms this idea of everydayness. The questions that confront us to this effect are: can perception lead us into, to encounter, this world opened by artworks? Does the nervous/visual system suffice to enter into that world in which the artist invites us? This is where Richir becomes important. In response to the first problem, he shows that the “perception” (experience) of artworks is beyond mere everydayness since artworks open for us a world that “never was” and “never will be” (i.e., “virtuality” and not a veridical sense of everydayness as captured in the perceptive act that is object-related). This is because the material stuff or object given in perception is neutralized by the phantasia to become what Richir calls Sache. This Sache is in itself a phenomenon that is disclosed in artworks. In response to the second problem, Richir shows how artworks cannot disclose just metaphysical categories of Being, truth, or world. The disclosure has to be phenomenological, corporeal, and affective. He therefore proposes another mode of “perception” beyond mere perception in a revolutionary interpretation of the husserlian “perceptive” phantasia. With this, he shows how the aforementioned metaphysical condensations are liveable in experience. I concretize this with an illustration from the theater. Finally, I suggest participation as a phenomenological approach that can make both Heidegger’s and Richir’s intuitions meaningful.

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“…. without ever being present" (Richir, 2003). This is a way of saying that the character is in his "presence" there, though absent in a real spatio-temporal sense.…”

Section: In the Theatermentioning

confidence: 99%

Section: "Perception" Of the "Sache" In The "Perceptive" Phantasiamentioning

confidence: 99%

Appreciation of Art as a Perception Sui Generis: Introducing Richir’s Concept of “Perceptive” Phantasia

Ekweariri

2021

Front. Psychol.

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Marc Richir (1943–)

Trinks

2009

Handbook of Phenomenological Aesthetics

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Towards a Hermeneutical Modification of Jean-Luc Marion’s Givenness and the Gifted

Ekweariri

2024

Religions

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Whereas Marion’s earlier articulation of givenness has received a wide-spread hermeneutical critic justifiable within the framework of his two major initial texts on the issue (“Reduction and Givenness” and “Being Given”), in recent works he has reacted in diverse writings in view of repositioning hermeneutics within his phenomenology of givenness. Following Gadamer and Heidegger, this reaction culminated in the outline of an enigmatic structure of givenness where understanding is situated within the dynamic of call and response (Levinas, Chrétien). Yet, despite the reciprocity of call and response in hermeneutical understanding, Marion still seems to have reinforced his previous position in which meaning is that of the sole givenness, thereby compromising the point of view of the witness (the hermeneutic gaze). We shall defend not only this “hermeneutic gaze”—which is rooted in the symbolic ground of the witness as what s/he brings to bear on what is received in a network of relationships that transforms him,—but also demonstrate how the reciprocity between givenness and the gifted dynamically plays out in call and response (St. Paul). In addition, the hermeneutic gaze is indispensable since only it can explain an illusion that cohabits with givenness, i.e., with the phenomena. In the context of religious experience, the hermeneutical gaze is capable of modulating the way the divine word (aesthetic) is given: either as an illusion (ecstatic), which reverts him back to himself, or as meaning, which inscribes him into a faith community (symbolic).

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Du rôle de la phantasia au théâtre et dans le roman

Cited by 6 publications

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Appreciation of Art as a Perception Sui Generis: Introducing Richir’s Concept of “Perceptive” Phantasia

Appreciation of Art as a Perception Sui Generis: Introducing Richir’s Concept of “Perceptive” Phantasia

Marc Richir (1943–)

Towards a Hermeneutical Modification of Jean-Luc Marion’s Givenness and the Gifted

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