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Phenomenology and the Arts

Edited by A. Licia Carlson and Peter R. Costello - Contributions by John Russon; Galen A. Johnson; John Lysaker; Brian Rogers; Christian Lotz; Scott Marratto; Kirsten Jacobson; Susan Bredlau; Laura McMahon; Jeff Morrisey; Matthew Goodwin; David Ciavatta; Peter R. Costello and A. Licia Carlson

Phenomenology and the Arts develops the interplay between phenomenology as a historical movement and a descriptive method within Continental philosophy and the arts. Divided into five themes, the book explores first how the phenomenological method itself is a kind of artistic endeavor that mirrors what it approaches when it turns to describe paintings, dramas, literature, and music. From there, the book turns to an analysis and commentary on specific works of art within the visual arts, literature, music, and sculpture. Contributors analyze important historical figures in phenomenology—Kant, Hegel, Husserl, Heidegger, and Merleau-Ponty. But there is also a good deal of work on art itself—Warhol, Klee, jazz, and contemporary and renaissance artists and artworks.
Edited by Peter R. Costello and Licia Carlson, this book will be of interest to students in philosophy, the arts, and the humanities in general, and scholars of phenomenology will notice incredibly rich, groundbreaking research that helps to resituate canonical figures in phenomenology with respect to what their works can be used to describe.
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Lexington Books
Pages: 360Size: 6 x 9
978-1-4985-0650-2 • Hardback • September 2016 • $110.00 • (£75.00)
978-1-4985-0651-9 • eBook • September 2016 • $104.00 • (£70.00)
A. Licia Carlson is associate professor of philosophy at Providence College.

Peter R. Costello is professor of philosophy at Providence College.
Introduction Peter R. Costello

Overview Licia Carlson

Phenomenological Method

Chapter 1Phenomenological Description and Artistic Expression
John Russon

Chapter 2On the Possibility of the ‘Purity’ and Primacy of Art: A Phenomenological Analysis Based in Merleau-Ponty, Husserl, and Kant
Galen A. Johnson

Chapter 3In the Interest of Art
John Lysaker

Chapter 4Between Fabrication and Form: Heidegger’s Phenomenology of the Work
of Art
Brian Rogers

Visual Arts

Chapter 5Husserl, Expressionism, and the Eidetic Impulse in Brücke’s Woodcut
Christian Lotz

Chapter 6Blind Narcissism: Derrida, Klee, and Merleau-Ponty on the Line
Scott Marratto

Chapter 7Perceptual Openness and Institutional Closure in the Contemporary
Artworks of Luis Jacob and Phillip Buntin
Kirsten Jacobson


Chapter 8An Organism of Words: Merleau-Ponty on Embodiment, Language and
Susan Bredlau

Chapter 9Questioning 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


Chapter 11 Another Standard: Jazz Music and the Experience of Self-Transcendence
Jeff Morrisey

Chapter 12Encounters with Musical Others
Licia Carlson

Place and Action

Chapter 13Of Earth and Sky: The Phenomenology of James Turrell’s Roden Crater
Matthew Goodwin

Chapter 14Transitional Objects, Playful Faculties, and Par-ergon-omics—Moving Together Towards Religious Art
Peter Costello

Chapter 15Hegel and the Phenomenology of Art
David Ciavatta