ABSTRACT

This paper questions the apparent silenc of Cassirer’s Philosophy of Symbolic Forms on the unconscious, in its double sense of the psychic structure and of the description of the imperceptible. Although Cassirer is engaged in a very fine phenomenological analysis of our experience of the world, under the prism of a critic of culture, and although he does not believe in the evidence of the self, the absence of the unconscious from his account shows precisely the force of his conceptualization of the symbolic. Why and how does the theme of the unconscious absorb that of the symbolic? The article argues that the question has to be analyzed through “symbolic pregnance” (symbolische Prägnanz) and “concrescence” (Konkreszenz). Nonetheless, here, the concepts of “subject,” “reason,” and “representation” are considerably re-semantized and, therefore, displaced by the key concept of “symbol.” To analyze this problem, the prism of aesthetics will be fundamentally privileged. Symbolic aesthetics crystallizes these questions of perceptive phenomenology with a rare intensity, articulating the personal and the impersonal dimensions in a focusedway. The texts of Langer will help us to explain the field that Cassirer explored only in a discontinuous and fragmentary way. Our hypothesis is the following: when the double dimension (personal and impersonal) of the experience is intensified, not only does symbolic aesthetics go beyond the classical opposition between conscious and unconscious, but it also goes beyond the distinctions between form and affect, form and content, and formalism and expression.

摘要

本文对卡西尔的符号形式哲学对潜意识的明显沉默提出了质疑，因为它具有心理结构和对潜移默化的描述的双重意义。尽管卡西尔（Cassirer）在对文化的批评者的棱镜下对我们对世界的体验进行了非常精细的现象学分析，并且尽管他不相信自我的证据，但从他的叙述中无意识的缺失恰恰表明了他对象征的概念化的力量。无意识的主题为何以及如何吸收象征的主题？文章认为，必须通过“象征性怀孕” （symbolischePrägnanz）和“ con悔” （Konkreszenz）来分析这个问题。。但是，在这里，“主题”，“原因”和“代表”的概念被重新定义，因此被取代了。通过“符号”这一关键概念。为了分析这个问题，美学的棱镜将从根本上享有特权。象征美学以罕见的方式将这些感知现象学问题具体化，以一种聚焦的方式阐明了个人和非个人的维度。Langer的文章将帮助我们以不连续和零散的方式解释卡西尔探索的领域。我们的假设如下：当体验的双重维度（个人的和非个人的）得到加强时，符号美学不仅超越了有意识和无意识之间的经典对立，而且还超越了形式与情感，形式和情感之间的区别。内容，形式主义和表达。