Attention to the role of phenomenology in Frantz Fanon’s Black Skin, White Masks is fundamental to an appreciation of the book’s progressive structure. And it is through an appreciation of this structure that it becomes apparent that the book’s engagement with phenomenology amounts to an enrichment, not a critique, of existential phenomenology, although the latter might appear to be the case at first sight, given Fanon’s rejection of certain aspects of Jean-Paul Sartre’s “Black Orpheus.” This is demonstrated through an examination of Fanon’s references to Sartre, Günther Anders, and Maurice Merleau-Ponty in the book’s final crucial pages on temporality. His largely neglected relation to Karl Jaspers and the concept of historicity is also explored.

重视现象学在弗朗茨·范农（Frantz Fanon）的《黑皮肤》中的作用，《白面具》对理解本书的渐进结构至关重要。通过对这种结构的理解，很明显，本书对现象学的参与是对存在现象学的丰富而不是批判，尽管鉴于法农拒绝某些观点，后者乍一看似乎是这种情况。让·保罗·萨特（Jean-Paul Sartre）的《黑色奥菲斯》的各个方面。通过在书中关于时间性的最后关键页面中对法纳对萨特，冈瑟·安德斯和莫里斯·梅洛-庞蒂的引用的审查，可以证明这一点。还探讨了他与卡尔·贾斯珀斯（Karl Jaspers）的关系以及历史性的概念，而这一关系在很大程度上被人们忽略了。