PHENOMENOLOGY OF THE POETIC ELEMENT

This publication is a translation into Russian of Marc Richir's article Phenomenology of the poetic element, accompanied by a preface of translator. In his article Richir reveals «poetic element» of phenomenal experience as its fundamental condition, relying on it as a tradition and techniques of transcendental phenomenology and the empirical study of psychoanalysis. Richir gives concrete empirical content borrowed from Husserl's concept of perceptual fantasies, referring to the theory of D.V. Winnicott's «transitional object», and then extrapolates the results to the experience of creation and perception of the «poetic» work (knowing the latest in a broad, Aristotelian sense). Perceptual imagination of Richir's phenomenology should be separated from «pure fantasy»: the latter is a «minimum level of conceptual self-image». It has been in existence as «the rudiments of sense», which take place in a passive synthesis of «extra-linguistic peace schematism». Pure fantasy becomes perceptive fantasy just when there is inversion (revirement) «germ of meaning» in the «sense bud», thanks to some fancy a change of perspective. This process involves the formation of a special «field of play» (Winnicott), or transcendental interfact space, which establishes a primary (preintentional) type of relationship between the two egos: the baby and mother, spectator and actor. In this respect, perceptual «sees» in fantasy not an object, and the other perceptive imagination in the fantasy that belongs to another. This formed the primary locus of communication: interfact transcendental space that is being «played intentionally», then it becomes a space of intersubjectivity. Dating back to some fancy-affective sphere, perceptive fantasy (or «poetic element») has a «phenomenological redundancy» in comparison with the logical concept. Therefore, one can speak about a special type of knowledge of reality beyond its objectivist and logical explication.