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140122 ||| eng |
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|a 9789400920279
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|a Kronegger, M.
|e [editor]
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|a Phenomenology and Aesthetics
|h Elektronische Ressource
|b Approaches to Comparative Literature and the Other Arts
|c edited by M. Kronegger
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| 250 |
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|a 1st ed. 1991
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| 260 |
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|a Dordrecht
|b Springer Netherlands
|c 1991, 1991
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| 300 |
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|a XVI, 280 p
|b online resource
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|a One The Life Significance of Literature -- A. History and Phenomenological Literary Theory -- The Concept of Autonomous Art and Literature Within Their Historical Context -- B. Time and Description in Fiction -- On the Manifold Significance of Time in the Novel -- One Autobiographer’s Reality: Robbe-Grillet -- Heidegger and English Poetry -- Expressionist Signs and Metaphors in Martin Heidegger’s Being and Time -- Two Phenomenology and Literature: The Human Conditon -- A. The Primeval Sources of Literary Creation -- Faulkner/Lévinas: The Vivacity of Disaster -- The Recursive Matrix: Jealousy and the Epistemophilic Crisis -- Phenomenology and the Structure of Desirability -- B. The Experience of the Other -- The Voice of Luxembourg Poets -- The Ramatoulaye-Aissatou Styles in Contemporary African Feminism(s) -- Nature and Civilization as Metaphor in Michel Rio’s Dreaming Jungles -- Problems of Literary Expression in Les Nourritures Terrestres -- Lucie Sebetka: The Phenomenon of Abandonment in Milan Kundera’s The Joke -- Three Aesthetic Reception -- A. Life-Reverberation and Aesthetic Enjoyment -- “Essential Witnesses”: Imagism’s Aesthetic “Protest” and “Rescue” via Ancient Chinese Poetry -- Towards a Post-Modern Hermeneutic Ontology of Art: Nietzschean Style and Heideggerian Truth -- Le Véritable Saint Genest: From Text to Performance -- B. The Existential Significance of Aesthetic Enjoyment -- Husserl, Fantasy and Possible Worlds -- Phenomenological Ontology and Second Person Narrative: The Case of Butor and Fuentes -- Modifications: A Reading of Auden and Iser -- C. Aesthetic Reception and the Other Arts -- A Study of Visual Form in Literary Imagery -- Indian and Western Music: Phenomenological Comparison from Tagore’s Viewpoint -- Index of Names
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| 653 |
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|a Comparative Literature
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| 653 |
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|a Comparative literature
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| 653 |
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|a Philosophy
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| 653 |
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|a Phenomenology
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| 653 |
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|a Aesthetics
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| 653 |
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|a Phenomenology
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|a eng
|2 ISO 639-2
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| 989 |
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|b SBA
|a Springer Book Archives -2004
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|a Analecta Husserliana, The Yearbook of Phenomenological Research
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| 028 |
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|a 10.1007/978-94-009-2027-9
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| 856 |
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|u https://doi.org/10.1007/978-94-009-2027-9?nosfx=y
|x Verlag
|3 Volltext
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|a 111.85
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| 520 |
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|a and the one in the middle which judges as he enjoys and enjoys as he judges. This latter kind really reproduces the work of art anew. The division of our Symposium into three sections is justified by the fact that phenomenology, from Husserl, Heidegger, Moritz Geiger, Ingarden, in Germany and Poland, Merleau-Ponty, Paul Ricoeur, E. Levinas in France, Unamuno in Spain, and Tymieniecka, in the United States, have revealed striking coincidences in trying to answer the following questions: What is the philosophical vocation of literature? Does literature have any significance for our lives? Why does the lyric moment, present in all creative endeavors, in myth, dance, plastic art, ritual, poetry, lift the human life to a higher and authentically human level of the existential experience of man? Our investigations answer our fundamental inquiry: What makes a literary work a work of art? What makes a literary work a literary work, if not aesthetic enjoyment? As much as the formation of an aesthetic language culminates in artistic creation, the formation of a philosophical language lives within the orbit of creative imagination
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