This is the first work to thoroughly show the breadth, depth and continuing fecundity of phenomenological aesthetics. Topics covered include film, art, dream, empathy, enjoyment, imagination, ecology, gender, and many more. All entries have bibliographies. Historically, phenomenology began in Edmund Husserl's theory of mathematics and logic, went on to focus for him on transcendental rst philosophy and for others on metaphysics, philosophical anthropology, and theory of interpretation. The c- tinuing focus has thus been on knowledge and being. But if one began without those interests and…mehr
This is the first work to thoroughly show the breadth, depth and continuing fecundity of phenomenological aesthetics. Topics covered include film, art, dream, empathy, enjoyment, imagination, ecology, gender, and many more. All entries have bibliographies.Historically, phenomenology began in Edmund Husserl's theory of mathematics and logic, went on to focus for him on transcendental rst philosophy and for others on metaphysics, philosophical anthropology, and theory of interpretation. The c- tinuing focus has thus been on knowledge and being. But if one began without those interests and with an understanding of the phenomenological style of approach, one might well see that art and aesthetics make up the most natural eld to be approached phenomenologically. Contributions to this eld have continually been made in the phenomenological tradition from very early on, but, so to speak, along the side. (The situation has been similar with phenomenological ethics. ) A great deal of thought about art and aesthetics has nevertheless accumulated during a century and a handbook like the present one is long overdue. The project of this handbook began in conversations over dinner in Sepp's apa- ment in Baden-Baden at one evening of the hot European summer in the year 2003. As things worked out, he knew more about whom to ask and how much space to allocate to each entry and Embree knew more about how to conduct the inviting, preliminary editing, and prodding of contributors who were late returning their criticized drafts and copyedited entries and was able to invest the time and other resources from his endowed chair. That process took longer than anticipated and there were additional unfortunate delays due to factors beyond the editors's control.
Hans Rainer Sepp lehrt an der Humanwissenschaftlichen Fakultät der Karls-Universität Prag.
Preface; Introduction - Hans Rainer Sepp and Lester Embree; AESTHETIC EXPERIENCE - Edward S. Casey; APPEARANCE - TANI Toru; ARCHITECTURE - Timothy Casey; ANTONIO BANFI - Gabriele Scaramuzza; BEAUTY - Simone Neuber; SIMONE DE BEAUVOIR - Sara Heinämaa; OSKAR BECKER - Markus Ophälders; WALDEMAR CONRAD - Daniela Angelucci; CREATIVITY - Mario Teodoro Ramírez; CUBISM - Andrea Pinotti; DANCE - Gediminas Karoblis; JACQUES DERRIDA - Terri J. Hennings; DREAM - Hans Rainer Sepp; MIKEL DUFRENNE - Edward S. Casey; ECOLOGY - Ted Toadvine; EMPATHY - Andrea Pinotti; ENJOYMENT - Madalina Diaconu; FASHION - César Moreno, FILM - Elena del Río; EUGEN FINK - Hans Rainer Sepp; HANS GEORG GADAMER - Mirko Wischke; MORITZ GEIGER - Licia Fabiani; GENDER - Gayle Salamon; NICOLAI HARTMANN - Mirko Wischke; MARTIN HEIDEGGER - Françoise Dastur; MICHEL HENRY - Ruud Welten; DIETRICH VON HILDEBRAND - John F. Crosby; EDMUND HUSSERL - John Brough; IMAGINATION - Natalie Depraz; ROMAN INGARDEN - Andrzej Gniazdowski; INTERCULTURAL AESTHETICS - R.A. Mall; JAPANESE LIFEWORLD - OHASHI Ryosuke; FRITZ KAUFMANN - Christian Lotz; LITERATURE - Pol Vandevelde; HENRI MALDINEY - Elaine Escobas; JEAN-LUC MARION - Michael Staudigl; MEDIA - Paul Majkut; MAURICE MERLEAU-PONTY - Galen A. Johnson; METAPHOR - Annamaria Lossi; METHODOLOGY - Lester Embree; MUSIC - Augusto Mazzoni; MAURICE NATANSON - Michael Barber; NATURE - Cathrin Nielsen; NISHIDA KITARO - KANATA Susumu; JOSÉ ORTEGA Y GASSET - Javier San Martin; PAINTING - Eliane Escoubas; JAN PATOCKA - Ludger Hagedorn; PHOTOGRAPHY - CHEUNG Chan-Fai; PLAY - Cathrin Nielsen; POLITICS - Helmut Kohlenberger; RELIGION - Balazs Mezei; REPRESENTATION - John Brough; MARC RICHIR - Jürgen Trinks; PAUL RICOEUR - Yvanka B. Raynova; HEINRICH ROMBACH - Georg Stenger; JEAN-PAUL SARTRE - Philippe CabestanMAX SCHELER - Wolfhart Heinckmann; HERMANN SCHMITZ -Anna Blume; ALFRED SCHUTZ - Andreas Georg Stascheit; SCULPTURE - Jacques Dewitte; SECONDARY SENSES - Madalina Diaconu; SENSATION - Jagna Brudzinska; GUSTAV GUSTAVIVICH SPET - Tatyana Schedrina; SPACE AND TIME - Cathrin Nielsen; STYLE - Andrea Pinotti THEATER - NUKI, Shigeto; FRANCE VEBER - Dean Komel; VIRTUAL REALITY - Christian Rabanus; WORK OF ART - Cathrin Nielsen; Index
From the reviews: "I recommend ... for all readers and especially for those whose interest in aesthetics is one of seriousness and commitment. This depth interest, nevertheless, is fulfilled only with a significant number of sittings. The book has both density and extensiveness of coverage. ... The quality of the contents, the material of the text, is high and remains high through the march of entries." (Thomas F. Cloonan, Journal of Phenomenological Psychology, Vol. 42 (1), 2011)
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