Abstract
Understanding notions such as man and nature, and especially understanding the “and, ” that is, the tie which binds them together, is strictly dependent on the ontological horizon situating this statement.
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Cf. Edmund Husserl, The Crisis of European Sciences and Transcendental Phenomenology,trans. David Carr (Evanston: Northwestern University Press, 1970), p. 60.
Husserl, Experience and Judgment,trans. James S. Churchill and Karl Ameriks (Evanston: Northwestern University Press, 1973), p. 74.
Cf. Ibid., p. 156; § 35, “The question of the essence of the unity establishing the relation” (“Frage nach dem Wesen der Beziehung begründenden Einheit”).
Cf. Jaakko Hintikka, “Concept as Vision: On the problem of representation in modern art and in modern philosophy,” in The Intentions of Intentionality and other new Models for Modalities (Dordrecht: Reidel, 1975).
This comparison is not new. As Hintikka writes, “Probably the first to have called attention to it is Ortega y Gasset. The most careful statement on record of the analogy is by Guy Habasque. …” However, he adds, “in earlier discussions of the relation between cubism and phenomenology the emphasis has typically been on the mental operations involved in the two activities, cubist painting and phenomenology, respectively, rather than on the semantics of the representational or intentional situation” (pp. 230-31). It is, therefore, in the latter direction that Hintikka develops the analogy in an effort to show that “the cubists were dealing with the noemata of objects, not with objects as such” (p. 231).
Ibid., p. 232.
Quoted by Hintikka, p. 231.
Cf. Maurice Denis, ‘Définition du Néo-traditionnisme,’ in Art et Critique,1 (23-30 August 1890): “Remember that a painting—before it is a warhorse, a nude woman, or any sort of anecdote—is basically a flat surface covered with colors applied in a certain order.”
Cf. Henri Maldiney, L’Equivoque de limage dans la Peinture,in Regard, Parole, Espace (Geneva: L’Age d’Homme, 1973).
Cf. Maldiney, p. 138.
Cf. Husserl, Experience and Judgment,p. 141.
Ibid.
This dynamic and nonobjective feeling of the Sicilian countryside is transcribed using the names of cities, mountain ranges, and the indication of direction in the astonishing drawing, Klee’s inner landscape of Sicily, entitled: ‘Mountain chains near Taormina’ (1924) (in the Kunstmuseum, Bern).
During his sojourns along the Baltic coast, Spiller continues, “Klee collected algae which, after they were dried, were glued between two plates of glass with the inscription ‘Forest of the Baltic Sea.’ From Sicily and the Mediterranean he brought back sea urchins, sea horses, coral, and molluscs. In addition to butterflies, he also had a rock collection: crystals, fossils, yellow amber, variegated sandstone, quartz, and mice. He was interested in stratification, the transparent effect of the layers and the color composition. In tree bark he studied the movements of the bostryches.” Cf. Paul Klee, La Pensée Créatrice trans. Sylvie Gerard (Paris: Dessain and Tolra, 1973), p. 12.
Moreover, understanding this autonomy, this significance of the “part,” of the “dependent moment” in relation to the sense of the “whole” (of the thing perceived) can also clear the way for understanding not only certain aspects of creative fantasy but also “fantasizing” as the term is taken in psychoanalysis.
Cf. Klee, p. 147.
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Petit, M.D.P., Carvalho, V.D. (1982). Man and Nature: Does the Husserlian Analysis of Pre-Predicative Experience Shed Light on the Emergence of Nature in the Work of Art?. In: Tymieniecka, AT. (eds) The Philosophical Reflection of Man in Literature. Analecta Husserliana, vol 12. Springer, Dordrecht. https://doi.org/10.1007/978-94-009-7720-4_15
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