Phenomenology and the Arts: Logos and Aisthesis (Contributions to Phenomenology, 109)

Preface
Contents
Chapter 1: Introduction: Phenomenological Aesthetics as Logos of the Sensible
Part I: Phenomenological Approach to Art and Aesthetics
	Chapter 2: Aesthetic Attitude and Phenomenological Attitude: From Zhu Guangqian to Husserl
		2.1 Introduction
		2.2 Zhu Guangqian’s Elucidation of the Aesthetic Attitude: A Latent Phenomenologist?
		2.3 Phenomenological Attitude as the Epoché of the Natural Attitude
		2.4 Aesthetic Attitude as the Prototype of Phenomenological Attitude?
		2.5 The Primacy of Imagination and the Privilege of Art
		2.6 Conclusion
		Bibliography
	Chapter 3: A Husserlian Account of the Power of the Imaginary
		Bibliography
	Chapter 4: Art and Experience: Reflections on Husserl’s and Heidegger’s Phenomenological Approaches to Art-Works
		4.1 Introduction
		4.2 The Critique of the Representational View of Art
		4.3 Husserl’s Reflections on Art and the Aesthetic Imagination
		4.4 Husserl and Hugo Von Hofmannsthal on Poetry and Phenomenology
		4.5 The Later Husserl on Cultural Objects
		4.6 Martin Heidegger on Art and the Working of Art Works
		4.7 Conclusion: The Phenomenology of Aesthetic Intuition and the Being of the Art-Work
Part II: Varieties of Artistic Experience
	Chapter 5: Aisthesis and Logos – One or Two? Two Kindred Poems by Qianlong Di and Goethe
		5.1 Part I: Structural and Historical Comments
			5.1.1 On the Aesthetic Structure of Qianlong’s Poem
			5.1.2 The Aesthetic Structure of Goethe’s Poem in Comparison
			5.1.3 On Qianlong’s Multiple Personality
			5.1.4 Notes on the Ginkgo Tree and its Names
		5.2 Part II: Comparative-Contrastive Interpretation of the Poems
			5.2.1 Identities
			5.2.2 More Than a Question of Identity: A Question of Knowledge
		5.3 Conclusions
		Bibliography
	Chapter 6: Seeing the Invisible: Kandinsky and the Multi-dimensionality of Colors
		6.1 Kandinsky
			6.1.1 What Is Abstract Painting?
			6.1.2 The Internal and the External
		6.2 Multi-dimensionality of Colors
			6.2.1 The Visible and the Invisible
			6.2.2 Multi-dimensionality of Colors
		6.3 From the Philosophy of Paintings to the Painting as a Philosophy
		References
	Chapter 7: Theatre as a Scene of Otherness
		7.1 Otherness
		7.2 Otherness on the Stage
		7.3 Performance
		7.4 Stage Time and Stage Place
		7.5 Masque
		7.6 Speech Theatre and Body Theatre
		7.7 Stage Techniques
		7.8 Action and Reception
		7.9 Experiments Between Shock and Routine
		Literature
	Chapter 8: The Figuration of Time: Rhythm and Metaphor in Dramatic Language
		8.1 Introduction
		8.2 The Role of Language
		8.3 Language Art and Time
		8.4 Pathos and Time
		8.5 Rhythm
		8.6 Semantics: The Use of Metaphor
		8.7 Metaphor and Time
		8.8 Conclusion
		References
	Chapter 9: Emptiness and the Spiritual in Architecture
		9.1 Introduction
		9.2 Emptiness in Traditional Korean Architecture
			9.2.1 The Concept of Emptiness
			9.2.2 Structuring Emptiness in Traditional Korean Architecture
			9.2.3 The Void Open to Nature, the Universe, and Community Life
		9.3 Structuring Emptiness in Contemporary Korean Architecture
		9.4 Lived Experience of the Void and Structured Emptiness
			9.4.1 Sensorimotor Experience of the Void and Structured Emptiness
			9.4.2 Existential Experience of the Void and Structured Emptiness
			9.4.3 Spiritual Experience of the Void and Structured Emptiness
		9.5 Concluding Remarks: The Value of the Spiritual in Architecture
		References
	Chapter 10: Digital Technology, Urban Aesthetics, and Phenomenology
		10.1 Introduction: Digital Convergence and Ubiquitous City
		10.2 PC, VR, UC and Ontology of Tool
		10.3 UC, Home, and Landscape
		10.4 Liquid Space, Posthuman, and Irony
		10.5 High Line Park: The Way to Poietic Urban Design?
		10.6 Concluding Remark: Hope for Oikonimia
		References
	Chapter 11: Re-presenting Earthscape: Towards a Phenomenology of Aerial Photographic Art
		11.1 From Landscape to Earthscape
		11.2 Aerial Photographic Art
		11.3 The Idea of Earthscape
		11.4 Re-presenting Earthscape
Part III: Logic of Sensibility
	Chapter 12: How Much Logos Is There in Aisthesis? Aristotle’s Phenomenology of Perception
		12.1 Husserl and the “Logos of the Aesthetic World”
		12.2 Apophantic Logic and Phenomenal Logic
		12.3 Operating with Gaps: A Logic of Intensification
		Bibliography
	Chapter 13: Seeing and Touching: The Optic and the Haptic in Merleau-Ponty’s Thought
		13.1 The Eye which Sees and Touches: a Synaesthetic Conception of Perception
		13.2 Encroachment and Mutual Infringement of the Tangible and the Visible: the Flesh as Wild Being
		Bibliography
	Chapter 14: Toward the Phenomenology of Aesthetic Instinct Developed Through a Dialogue with F. Schiller
		14.1 Schiller’s Concept of the Aesthetic Instinct
		14.2 Schiller’s Theory of the Aesthetic Instinct as a Mixture of Dogmatic Metaphysics and the Phenomenology of Aesthetic Instinct
		14.3 A Brief Sketch of the Phenomenology of Aesthetic Instinct
		14.4 Concluding Remarks
Author Index
Subject Index