Download e-book for kindle: Aesthetics as Phenomenology: The Appearance of Things by Günter Figal

By Günter Figal

ISBN-10: 0253015650

ISBN-13: 9780253015655

Connecting aesthetic adventure with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what paintings potential for cognition, acceptance, 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 artwork, response and inspiration confront one another. For these informed within the visible arts and for extra informal audience, Figal unmasks paintings as a decentering adventure that opens additional chances for realizing our lives and our global.

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Extra resources for Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)

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For spirit there is such a thing as “after art,” and this is reached when spirit no longer finds its actuality in pictorial works. ”74 Hegel’s thoughts undeniably lie behind Gadamer’s notion that art only fulfills its meaning when it is experienced in its “original life context” and thus in its “religious or profane function” (142). 75 If one took this notion seriously, then an adequate understanding of Greek tragedies would have to be impossible after the downfall of the Greek polis. The same would be the case for that work that no longer has a “religious or profane function” in one’s life-world.

Not every work that lends itself or even offers itself to art-philosophical observation is univocally graspable as classical or emphatically modern. There are newer works that are not emphatically modern in Adorno’s sense but that are illuminating as artworks. Moreover, in order to demonstrate their quality these works need not have proven themselves over against “historical critique” in the flux of ages, and are thus not classical in Gadamer’s sense. One might consider, for example, Gerhard Richter’s paintings, Peter Handke or Botho Strauss’ texts, Manfred Trojahn or Wolfgang Rihm’s music.

Instead of conceiving nature and freedom as harmonizing or being congruent, the attempt took hold of showing their inner unity by retreating to a principle that grounds it; the “I,” “the absolute,” and “Geist” are just a few designations for this principle. This development coincided with a turn away from Kant’s conception of the aesthetic. His conception certainly always continued to find advocates and apologists, but this aesthetics stands in a peculiar orthogonal relation to the development of the philosophical discussion of the beautiful after Kant.

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Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought) by Günter Figal


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