By Figal, Gnter, Veith, Jerome
Connecting aesthetic adventure with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what artwork capacity for cognition, attractiveness, and affect―how artwork adjustments our daily disposition or habit. Günter Figal engages in a penetrating research of the instant at which, in our contemplation of a piece of paintings, response and proposal confront one another. For these proficient within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering event that opens additional percentages for realizing our lives and our world.
Read Online or Download Aesthetics as phenomenology : the appearance of things PDF
Best phenomenology books
Der späte Husserl spricht von dem ,Ur-Ich’ als dem Ich, das der transzendentalen Intersubjektivität in einem gewissen Sinne vorangeht. Dies besagt aber nicht, dass es ein solipsistisches Ich wäre, das dem Anderen einseitig voranginge. Der Terminus ,Ur-Ich’ zeigt vielmehr die Ursprünglichkeit einer asymmetrischen und irreversiblen Relation zwischen Ich und Anderem zugespitzt an.
This publication is a scientific reconstruction of Heidegger's account of time and temporality in Being and Time. the writer locates Heidegger in a practice of "temporal idealism" with its assets in Plotinus, Leibniz, and Kant. For Heidegger, time can in simple terms be defined when it comes to "originary temporality," an idea essential to his ontology.
- Astronomy and Civilization in the New Enlightenment: Passions of the Skies (Analecta Husserliana, Volume 107)
- Schutzian Phenomenology and Hermeneutic Traditions
- Philosophical Issues in Psychiatry III: The Nature and Sources of Historical Change (International Perspectives in Philosophy and Psychiatry)
- Phenomenological Approaches to Moral Philosophy: A Handbook (Contributions To Phenomenology, Volume 47)
- On the phenomenology of the consciousness of internal time (1893-1917)
Extra resources for Aesthetics as phenomenology : the appearance of things
18 The results of Plato’s and Nietzsche’s determinations of the relation of poetry and philosophy are considerably different. Yet as concerns art, they agree; both neglect the same thing, namely the artwork. The artwork is neither a variable pronouncement of knowledge nor the expression of a view that changes from moment to moment. It stands for itself and is even withdrawn from its creator as soon as it is there. Assuming the poet Socrates interrogated in the Apology had had the opportunity to respond and had refuted the Socratic judgment concerning the poets’ incapacity to elaborate on their work, he could nevertheless not have supplemented his work by means of an additional justifying or clarifying statement.
Artworks are essentially interpretable and in need of interpretation; they are inherently to be understood. Yet intelligibility and the demand of interpretation are not traits restricted to artworks. They are just as valid for juridical, religious, and philosophical texts, for historical events and for complex life-relationships in general. Conversely, the intelligibility of artworks is less idiosyncratic than their perceivability. Whereas, in the process of understanding philosophical texts, perception is nothing more than a necessary condition, it is constitutive for the understanding of artworks.
For an observational philosophy concerned with objectively oriented clarification, the question of art is no simple issue among others. It concerns philosophy itself. Art approaches the observational attitude, and thus philosophy, in a peculiar way. Art awakens observation; it even opens up the attitude essential to philosophy in prephilosophical life. If one has any sense for art at all, observation—even in the extended sense that includes listening and reading—arises as if on its own. An indication of this might be that one tends to dedicate oneself to art outside of one’s working hours.
Aesthetics as phenomenology : the appearance of things by Figal, Gnter, Veith, Jerome