{"title":"The Unconscious","authors":"Tanehisa Otabe","doi":"10.1080/20539320.2019.1672278","DOIUrl":"https://doi.org/10.1080/20539320.2019.1672278","url":null,"abstract":"","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2019.1672278","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45171138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Diagnostic Concepts of the Unconscious as a Foundation of Romanticist Identity: Maine de Biran’s Psycho-Physiological and Psycho-Pathological Self-Investigations","authors":"M. Milz","doi":"10.1080/20539320.2019.1672289","DOIUrl":"https://doi.org/10.1080/20539320.2019.1672289","url":null,"abstract":"The foundations of psychoanalysis in the German idealist concepts of the reflexive human self have been the subject of detailed investigations devoted to the intertwined processes of introspection,...","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2019.1672289","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42360145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cultural Gap, Mental Crevice, and Creative Imagination: Vision, Analogy, and Memory in Cross-Cultural Chiasms","authors":"S. Inaga","doi":"10.1080/20539320.2019.1672305","DOIUrl":"https://doi.org/10.1080/20539320.2019.1672305","url":null,"abstract":"This paper aims at investigating how the cross-cultural chasm can be meaningfully connected with the discussion on creativity and imagination. In order to examine cross-cultural creativity and imag...","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2019.1672305","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46633335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Passivity in Aesthetic Experience: Husserlian and Enactive Perspectives","authors":"Simon Høffding, T. Roald","doi":"10.1080/20539320.2019.1589042","DOIUrl":"https://doi.org/10.1080/20539320.2019.1589042","url":null,"abstract":"ABSTRACT This paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion that occurs in some of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"6 1","pages":"1 - 20"},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2019.1589042","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48755494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Art, Philosophy and the Connectivity of Concepts: Ricoeur and Deleuze and Guattari","authors":"C. Cazeaux","doi":"10.1080/20539320.2019.1587965","DOIUrl":"https://doi.org/10.1080/20539320.2019.1587965","url":null,"abstract":"ABSTRACT Concepts are traditionally pictured as discrete containers that bring together objects or qualities based on the possession of shared, uniform properties. This paper focuses on a contrasting notion of the concept which holds that concepts are defined by their capacity to reach out and connect with other concepts. Two theories in recent continental philosophy maintain this view: one from Ricoeur, the other from Deleuze and Guattari. Both are offered as attempts to bring art and philosophy into relation, but they differ over how the process of connection is theorized. With Ricoeur, a concept is only a concept if it is inherently predisposed to connect with others, and open to being misapplied through metaphor, whereas, with Deleuze and Guattari, connection is left as the general notion of each and every concept being mutually consistent with other concepts, with the consistency attributed to the external action of “bridging.” The author demonstrates the impact of this difference on how the philosophers perceive the art–philosophy relation, and argues that Ricoeur is better placed to provide a theory of philosophical discourse that is open to the aesthetic. Ricoeur can show it through metaphor, while Deleuze and Guattari can only assert or state an art–philosophy relation through a series of technical claims. The significance of the showing–saying distinction is that it can demonstrate the depth with which conceptual connectivity is located within the philosophers’ respective ontologies, and can help to reveal the value of conceptual connectivity for that ontology.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"6 1","pages":"21 - 40"},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2019.1587965","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41317530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Unfolding the Baroque","authors":"Z. Somhegyi","doi":"10.1080/20539320.2018.1557448","DOIUrl":"https://doi.org/10.1080/20539320.2018.1557448","url":null,"abstract":"","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"6 1","pages":"89 - 93"},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2018.1557448","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41597465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Moving Eyes: The Aesthetic Effect of Off-Centre Pupils in Portrait Paintings","authors":"T. Madsen","doi":"10.1080/20539320.2019.1587966","DOIUrl":"https://doi.org/10.1080/20539320.2019.1587966","url":null,"abstract":"ABSTRACT Most eighteenth- and nineteenth-century portrait paintings have eyes staring outward at the beholder. A minority of these eyes have slightly elevated pupils in comparison to the iris. These off-centre pupils are not the norm, but they occur regularly in works by skilful European portrait painters in the eighteenth and nineteenth centuries. This article takes a closer look at selected portrait paintings by Danish artists Jens Juel and Constantin Hansen and argues that the discrepancy between the pupils and the rest of the paintings creates an illusion of movement or presence when looking the paintings in the eye. The discrepancy creates an aesthetic effect corresponding with Merleau-Ponty’s concept of internal discordance. According to Merleau-Ponty, visual art can create the illusion of movement by portraying its parts in different moments. These internal discordances make the painting “move” because the beholder unconsciously creates a fictive link between the parts thereby expanding time in space. The article combines presence theory (Jean-Luc Nancy and Hans Ulrich Gumbrecht), phenomenology (Merleau-Ponty) and art theory and perception theory (James Elkins, Dominic McIver Lopes and Michael Fried) in order to study the effects and possible reasons for creating pupils out of sync with the rest of the painting.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"6 1","pages":"59 - 78"},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2019.1587966","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44253406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Abstract City: The Phenomenological Basis for the Failures of Modernist Urban Design","authors":"Brian A. Irwin","doi":"10.1080/20539320.2019.1587963","DOIUrl":"https://doi.org/10.1080/20539320.2019.1587963","url":null,"abstract":"ABSTRACT Many critics have pointed to the failures of modernist urban design, which include its obliteration of thriving neighborhoods, isolation of functions and production of alienating spaces hostile to the human form. Less focus has been placed on defining the source of the modernists’ errors. This essay argues that these errors were in part due to neglect of the nature of fully embodied experience, a neglect manifested in an overwhelmingly visual disposition in embodiment. The author argues that a visual disposition is implicated in the occlusion of place by the modern concept of abstract space. This concept of space and the visual disposition that is implicated in it undergird the utopianism and veneration for abstract forms that characterized the project of modernist urban design. The author concludes by suggesting that the basis for a humanizing urbanism should be the solicitation of all the senses in synesthetic interaction. This phenomenological critique can help us to see precisely where modernist urban design went wrong; it can also help lead us out of the false dichotomy between alienating modernism and orthodox traditionalism by establishing a basis for successful urban environments in embodiment rather than in any rigidly determined formula for urban design.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"6 1","pages":"41 - 58"},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2019.1587963","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43341986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Showing Off! A Philosophy of Image","authors":"Robert Clarke","doi":"10.1080/20539320.2019.1587962","DOIUrl":"https://doi.org/10.1080/20539320.2019.1587962","url":null,"abstract":"Jorella Andrews’ Showing Off! A Philosophy of Image is a lively, idiosyncratic account of the experiential power images can have in revealing truths. It possesses that rare quality in books on this...","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"6 1","pages":"91 - 93"},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2019.1587962","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46485091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reading Oneself in the Text: Cavell and Gadamer’s Romantic Conception of Reading","authors":"David Liakos","doi":"10.1080/20539320.2019.1587964","DOIUrl":"https://doi.org/10.1080/20539320.2019.1587964","url":null,"abstract":"ABSTRACT Can we gain knowledge by reading literature? This essay defends an account of reading, developed by Stanley Cavell and Hans-Georg Gadamer, that phenomenologically describes the experience of acquiring self-knowledge by reading literary texts. Two possible criticisms of this account will be considered: first, that reading can provide other kinds of knowledge than self-knowledge; and, second, that the theory involves illegitimately imposing subjective meaning onto a text. It will be argued, in response, that the self-knowledge gained in reading allows one to gain other sorts of knowledge too, and that the reading process described by Gadamer and Cavell avoids excessive subjectivism.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"6 1","pages":"79 - 87"},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2019.1587964","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42320956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}