Introduction Peter R. Costello
Overview Licia Carlson
Phenomenological Method
Chapter 1 Phenomenological Description and Artistic Expression
John Russon
Chapter 2 On the Possibility of the ‘Purity’ and Primacy of Art: A
Phenomenological Analysis Based in Merleau-Ponty, Husserl, and
Kant
Galen A. Johnson
Chapter 3 In the Interest of Art
John Lysaker
Chapter 4 Between Fabrication and Form: Heidegger’s Phenomenology
of the Work
of Art
Brian Rogers
Visual Arts
Chapter 5 Husserl, Expressionism, and the Eidetic Impulse in
Brücke’s Woodcut
Christian Lotz
Chapter 6 Blind Narcissism: Derrida, Klee, and Merleau-Ponty on the
Line
Scott Marratto
Chapter 7 Perceptual Openness and Institutional Closure in the
Contemporary
Artworks of Luis Jacob and Phillip Buntin
Kirsten Jacobson
Literature
Chapter 8 An Organism of Words: Merleau-Ponty on Embodiment,
Language and
Literature
Susan Bredlau
Chapter 9 Questioning the Material of Meaning: Merleau-Ponty,
Adorno, and
Beckett on the Dynamic Character of Expression
Whitney Howell
Chapter 10 “Thinking According to Others”: Expression, Intimacy,
and the Passage
of Time in Merleau-Ponty and Woolf.
Laura McMahon
Music
Chapter 11 Another Standard: Jazz Music and the Experience of
Self-Transcendence
Jeff Morrisey
Chapter 12 Encounters with Musical Others
Licia Carlson
Place and Action
Chapter 13 Of Earth and Sky: The Phenomenology of James Turrell’s
Roden Crater
Project
Matthew Goodwin
Chapter 14 Transitional Objects, Playful Faculties, and
Par-ergon-omics—Moving Together Towards Religious Art
Peter Costello
Chapter 15 Hegel and the Phenomenology of Art
David Ciavatta
Licia Carlson is an associate professor of philosophy at Providence
College.
Peter R. Costello is professor of philosophy at Providence College.
The appropriate audience for this volume is wide. It will be both
enjoyable and enlightening for professional and student
philosophers, artists, writers, and poets. The progression from
each piece to the next is both thoughtful and natural, thanks to
the editorial work of Carlson and Costello. In sum, this book
explores the relationships between artist and work, work and
witness, and artist and witness in a way that is meaningful and
interesting to anyone interested in either art (broadly construed)
or philosophy. . . . I thoroughly recommend this book to all who
are interested in phenomenology or art, as much can be learned from
this volume on both accounts.
*Continental Philosophy Review*
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