Abstract
Reëxamining “the old conflict” between art and philosophy, this paper will try to elucidate and to qualify the resemblances as well as the differences between these two rivals. I want to proceed in the way of the closest possible adherence to the pregnant form which philosophy received in Edmund Husserl’s phenomenology, though not quite in the span of the frame filled out by the master himself.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
References
Cf. Geiger, Moritz, Zugänge zur Aesthetik, Berlin, 1928, pp. 12 ff.
“Wir weilen bei der Betrachtung des Schönen, weil diese Betrachtung sich selbst (‘durch die Belebung der Erkenntniskräfte’) stärkt und reproduziert” (Kant, Kritik der Urteilskraft, sec. 12).
The word impression has to be taken here — as always in aesthetics — in the concrete sense covering the sensory afflux as well as the manner of our personal reaction: like the German word Eindruck or Empfindung that is related in the first case to the object, in the second one exclusively to the subject (cf. Kant, op. cit., sec. 3).
Taken in this context “intention” is not the rationalistic concept rightly attacked, e.g., by Knight, G. W., in The Wheel of Fire, London, 1930, pp. 8 ff.
Cf. Fichte, S. W., VIII, p. 299.
Cf. e. g. Gustav Johannes v. Allesch, Wege zur Kunstbetrachtung, Dresden, 1921.
Cf. A Midsummer Night’s Dream, Act V, Sc. I.
I borrow this term from Samuel Alexander. Cf. Alexander’s Beauty and Other Forms of Value, London, 1933.
Cf. Ideen, pp. 223, 226.
Cf. the note on HusserPs position on this question in Oskar Becker’s contribution to the Husserl-Festschrift, Halle, 1929, p. 36.
Rilke, Rainer Maria, Sonnets to Orpheus, pt. I, no. 6 (Translation by J. B. Leishman).
Goethe, Faust, v. 148.
Goethe, W. W. 27, p. 108.
Cf. Husserl, Méditations Cartésiennes, pp. 74 ff.; Formale und transzendentale Logik, pp. 210 ff., 241.
Rilke, Sonnets to Orpheus, pt. II, no. 10.
Kant, Metaphysische Anfangsgründe der Naturwissenschaft, II. Hauptstueck, Lehrsatz 4, Anmerkung 2.
Moritz, Karl Philipp, Über die bildende Nachahmung des Schönen, Braunschweig, 1788.
“The artist portraying the flesh discovers the origin and the journey of the soul.” (Morgan, Charles, Portrait in a Mirror, New York, 1932).
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 1966 Martinus Nijhoff, the Hague, Netherlands
About this chapter
Cite this chapter
Kaufmann, F. (1966). Art and Phenomenology. In: Natanson, M. (eds) Essays in Phenomenology. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-3427-7_8
Download citation
DOI: https://doi.org/10.1007/978-94-015-3427-7_8
Publisher Name: Springer, Dordrecht
Print ISBN: 978-94-015-2204-5
Online ISBN: 978-94-015-3427-7
eBook Packages: Springer Book Archive