Handbook of Phenomenological Aesthetics

1. Front Matter

   Pages i-xxx

   PDF

2. Aesthetic Experience

   • Edward S. Casey

   Pages 1-7

3. Aisthesis

   • Jagna Brudzińska

   Pages 9-15

4. Appearance

   • Tani Toru

   Pages 17-23

5. Architecture

   • Timothy K. Casey

   Pages 25-28

6. Antonio Banfi

   • Gabriele Scaramuzza

   Pages 29-32

7. Beauty

   • Simone Neuber

   Pages 33-39

8. Simone de Beauvoir

   • Sara Heinämaa

   Pages 41-44

9. Oskar Becker

   • Markus Ophälders

   Pages 45-48

10. Chinese Aesthetics

    • Chen Zhiyuan

    Pages 49-52

11. Waldemar Conrad (1878–1915)

    • Daniela Angelucci

    Pages 53-56

12. Creativity

    • Mario Teodoro Ramírez

    Pages 57-61

13. Cubism

    • Andrea Pinotti

    Pages 63-66

14. Dance

    • Gediminas Karoblis

    Pages 67-70

15. Jacques Derrida (1930–2004)

    • Terri J. Hennings

    Pages 71-74

16. Dream

    • Hans Rainer Sepp

    Pages 75-80

17. Mikel Dufrenne (1910–1995)

    • Edward S. Casey

    Pages 81-84

18. Ecological Aesthetics

    • Ted Toadvine

    Pages 85-91

19. Empathy

    • Andrea Pinotti

    Pages 93-98

20. Enjoyment

    • Mădălina Diaconu

    Pages 99-105

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.

• Edmund Husserl
• Emmanuel Lévinas
• Hans-Georg Gadamer
• Jacques Derrida
• Jan Patocka
• Jean-Paul Sartre
• Martin Heidegger
• Maurice Merleau-Ponty
• Max Scheler
• Paul Ricoeur
• Roman Ingarden
• aesthetics

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)

• Fac. Humanities, Charles University Prague, Praha 5, Czech Republic

  Hans Rainer Sepp

• Center for Advanced Research of, Florida Atlantic University, Boca Raton,, U.S.A.

  L. Embree

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