This short paper aims to critically analyze a contemporary Taiwan Residents film, The Fourth Portrait, directed by Meng-Hung Chung, from the perspective of Delenzian theories. In Deleuze＇s two books on cinema, the di...This short paper aims to critically analyze a contemporary Taiwan Residents film, The Fourth Portrait, directed by Meng-Hung Chung, from the perspective of Delenzian theories. In Deleuze＇s two books on cinema, the discussion of images demonstrates the entangled juxtaposition of the three levels： brain-thought, cinema-screen, and world-images that compose the cinematic consciousness. Through the interacted movement-images and time-images, the film unfolds the storyline within the aesthetic pleasure of poetic sentiment that gradually leads the audience to learn that a wandering boy, Hsiao-Hsiang, after the death of his father, has had several adventurous encounters that gradually expose the secrecy of his traumatic family： His birth mother has no decent job and his step-father has killed his own brother. This broken family has been haunted by the shared guilt and the undead memory as Derrida famously claims that hauntology precedes ontology. As the past coexists with the present, Deleuze analyzes the concept of I, with a central fracture in its pure form of the past demonstrating an ontological enigma that remains forever a secret. When the director uses the four portraits to indicate the four important events of this wandering boy, he deliberately leaves empty the fourth portrait, the self-portrait of the boy; it remains as an incomplete piece which symbolizes an enigma of his own life. It shows certain constitutive unnamable forces acting within the boy that seduces him forever to painfully misrecognize himself.展开更多
In my paper, I analyse Hume＇s philosophy of love with the general philosophical idea of a continual flux in the background. My main source is his Treatise of Human Nature published in 1739 where Hume develops in full...In my paper, I analyse Hume＇s philosophy of love with the general philosophical idea of a continual flux in the background. My main source is his Treatise of Human Nature published in 1739 where Hume develops in full length his purely naturalistic moral theory. First, I recall some basic features of Hume＇s general concept of a passion. Afterwards, I characterize his concept of love in context of his ＂principle＂ of sympathy in order to connect finally Hume＇s ideas to a basic distinction within traditional philosophy of love between love of benevolence and love of desire.展开更多
文摘This short paper aims to critically analyze a contemporary Taiwan Residents film, The Fourth Portrait, directed by Meng-Hung Chung, from the perspective of Delenzian theories. In Deleuze＇s two books on cinema, the discussion of images demonstrates the entangled juxtaposition of the three levels： brain-thought, cinema-screen, and world-images that compose the cinematic consciousness. Through the interacted movement-images and time-images, the film unfolds the storyline within the aesthetic pleasure of poetic sentiment that gradually leads the audience to learn that a wandering boy, Hsiao-Hsiang, after the death of his father, has had several adventurous encounters that gradually expose the secrecy of his traumatic family： His birth mother has no decent job and his step-father has killed his own brother. This broken family has been haunted by the shared guilt and the undead memory as Derrida famously claims that hauntology precedes ontology. As the past coexists with the present, Deleuze analyzes the concept of I, with a central fracture in its pure form of the past demonstrating an ontological enigma that remains forever a secret. When the director uses the four portraits to indicate the four important events of this wandering boy, he deliberately leaves empty the fourth portrait, the self-portrait of the boy; it remains as an incomplete piece which symbolizes an enigma of his own life. It shows certain constitutive unnamable forces acting within the boy that seduces him forever to painfully misrecognize himself.
文摘In my paper, I analyse Hume＇s philosophy of love with the general philosophical idea of a continual flux in the background. My main source is his Treatise of Human Nature published in 1739 where Hume develops in full length his purely naturalistic moral theory. First, I recall some basic features of Hume＇s general concept of a passion. Afterwards, I characterize his concept of love in context of his ＂principle＂ of sympathy in order to connect finally Hume＇s ideas to a basic distinction within traditional philosophy of love between love of benevolence and love of desire.
