By Günter Figal

ISBN-10: 0253015650

ISBN-13: 9780253015655

Connecting aesthetic event with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what artwork capability 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 paintings, response and proposal confront one another. For these expert within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering event that opens additional chances for figuring out our lives and our global.

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

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28 That is why the decision concerning the artworks around which a philosophical observation is to orient itself cannot be arbitrary. The observed artworks must be unquestionable as artworks in order that the determinations developed regarding them can be universally illuminating. ” poses itself anew. It can be understood as the question about those artworks that deserve exemplary priority. 29 This schema preassigns philosophical observation of art to the alternative of taking either the classical or the decisively modern as binding; whereby the decisively modern is not simply the contemporary or novel, the work of today, but is that which is emphatically present—the new that essentially breaks with retrospective historical connections.

Accordingly, any determination related to the text is placed in the context of the text. The reflection of hermeneutical concepts does not arise from the activity of the one who interprets. The concepts are initially reflected by the text and turned toward the interpreter. It is only in this way that the latter can ponder them. The experience of artworks is hermeneutical; they must be interpreted, and in this way they can be conceptually determined according to what they are. But the experience of art exceeds normal hermeneutical experience in that the significance and meaning essentially lead to astonishment.

It belongs into the experience of art; the clarification develops its concepts within this experience, beginning from it and always returning to it. 46 It is only in this respect that it has the character of elucidation; but it can only clarify what is already known and familiar. That which is known and familiar here, the art-character of artworks, is always already present in the understanding relation to an artwork. In experiencing an artwork, one knows that it is an artwork. One knows it when one really experiences the artwork instead of keeping it at a distance through prejudices, superficiality, apathy, or refusal.

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

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