Image and Imagination at the Crossroads:
On Bachelard and Baudrillard*
Kuan-Min
Huang
Abstract
Examining the problem of image and imaginati=
on
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 dimensi=
ons
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 significa=
nce
of the overflow of images and criticizes this phenomenon by a more general
irony. For him, the perfect simulation executes a seclusion strategy of rea=
lity
— the reality murders the reality by making the reality appear. There=
fore
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.
Keywords: image, imagination, imaginary, =
world,
reality, virtuality, Virtual Reality, metaphysics, poetics*
徘徊於十字路口= 的形象與想像：論巴= 0462;拉與波希亞*
黃冠閔
摘要
檢討形象與想像= 的問題，在現代的電= 3376;紀元中，同時必須༣= 4;對兩方面的困難，其&= #19968;是傳統形上學的多%= 325;理論界定，另一面為= ;今日來自科技模擬的&#= 38651;子影像充斥，逐漸Ë= 51;得形象、影像的地位= 竄奪了實在。本文藉= 0001;分析巴修拉與布希ߜ= 6;的觀點，對照地探索&= #24418;象與想像的兩種面= 521;。巴修拉的觀點扣在= ;想像的形上學之脈絡&#= 19979;，嘗試恢復想像在Ţ= 33;意象中的創造功能。= 形象（意象）所涉及= 0340;是人與世界的內在හ= 2;密性，因此，既非呼&= #25033;於知覺的認識功能A= 292;也不受制於記憶中過= ;去的心理因果律；詩&#= 24847;象特別突顯出語言È= 13;形象的存有論地位，= 從而為想像奠定一種= 8750;封閉的主體性原則Ӎ= 0;布希亞則注意到影像&= #27710;濫時代中的哲學意 = 085;，他提出了深具反諷= ;意味而更普遍的批判&#= 65307;逼真的模擬其實執Ŝ= 92;著「實在」的隱身策= 略─「實在」用顯現= 526;在來謀殺實在。因此= ;，在真實的影像面前&#= 65292;想像被扼殺了；而ë= 26;在的同一性則吞噬了= 差異所蘊含的創造性= 2290;本文藉著這兩方面= 0;檢討，嘗試將想像的&= #24418;上學中可能的內在= 407;則與困難勾勒出來。= ;
關鍵詞：&#= 24418;象、意象、影像、ø= 19;像、世界、實在、虛= 擬性、虛擬實境、形= 9978;學、詩學
* The author must express his gratitude to the two anonymous re= ferees who give many precious critics and corrections. Some suggestions are adopted for the modifications in this text, but the other topics are left, as impor= tant as well, to my further research.
Received October 25, 2002; accepted December 15, 2002
Proofreaders: Jeng-Guo Wang, = Bing-Jie Li
* 本文=
為國科會九十一年度=
5972;合型研究計畫【重৶=
6;中國人文傳統的自然&=
#35264;──巴修拉論自然ᦁ=
3;概念、意象與想像
28 NCCU Philosopical Jour= nal Vol.9
Image and Imagination at the Crossroads 27
NCCU Philosophical Journal Vol.9
(December 2002), pp.25-62
ÓDepartment
of Philosophy,