مایکل دوفران: یک نگاه پدیدارشناختی به اپرای تریستان و ایزولده اثر واگنر

Abstract
Mikel Dufrenne of the most important figures in the art of classical phenomenology. His voluminous book on
the phenomenology of aesthetic experience has created a fundamental shift in aesthetics. The development
continued and formed a book about poetry. Phenomenology of aesthetic experience Dufrenne books on
modern philosophy, as well as events, notably the second joint of the French as “phenomenology”, and only
in terms of Merleau-Ponty’s phenomenology of perception takes precedence. Dufrenne course of Moritz
Geiger and his emphasis on the experience of aesthetic pleasure in phenomenological psychology, Roman
Ingardn and his emphasis on the role of art in shaping the actions of intentionality is sufficient; Sartre and
Merleau-Ponty’s work is well-read.
The aesthetic object is a controversial subject in the recent aesthetics field. In this article the Dufrenne point
of view would be described as the most famous philosopher in phenomenology of art briefly. The author is
going to consider Dufrenne things on art in summary. Then the author brings of the relationship and different
between work of art and aesthetic object at the end of article we will survey the Tristan and Isolde opera
why descriptive manner in a phenomenological approach. In the result we will find the phenomenological
analysis on aesthetic object. We would be possible through work of art analysis in order to understand, the
work of art must be performance. In Dufrenne view, the performance reveals the work or master property. The
performance is indepens feeling which performer shows in work even if the performance doesn’t add anything
to work. The performance is necessary because when the work of art is performed spectator is encountered
with it. In the stage the work of art is completed and aesthetic object will be reveal. The work completed by
performance and we can claim that the being and fact of work of art will be revealed and aimed. These facts
lead us to aesthetic object. Audience participation is trying to work for their release. Public aesthetic object
needs. We are aware of the fact that it has not offered entirely absent. The only artist to have his say because
he creates them. On the other hand the artist loves his work be judged by others and must pass this way. Artist
could not be left to the judgment of others. When it takes effect, the evidence of this expectation is the fact
that it is there for us? Simultaneously, the effect is understood by the audience. Unlike conventional aesthetic
object, the object can not be proven to be obvious.
The author wishes to reveal the work of art, not necessarily the “I” will be revealed. Performed in front of an
audience in which it occurs. So we really can say that the audience somehow is implementing. Attendance is
implementing the same task. That should work as a performer to surrender and be faithful