By Günter Figal

Connecting aesthetic adventure with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what paintings capacity for cognition, popularity, and affect—how artwork alterations our daily disposition or habit. Günter Figal engages in a penetrating research of the instant at which, in our contemplation of a piece of paintings, response and idea confront one another. For these informed within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering adventure that opens additional probabilities for knowing our lives and our international.

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306 (dans « L’homme et l’adversité », 1951). 24 Ibid. 306–307. 37. 58, PP p. 210. 305. 42. 29 Ibid. 52. 21 3 La crise moderne 27 s’estimait donc surhumain30. La raison absolue n’est pas humaine. Le pur rationalisme glorifie « l’Homme » en jugeant ce qui est véritablement humain (le corps, les passions, les contingences…) comme nul et non avenu. Dès lors l’humanité est la fragilité même, un sens naissant, toujours tâtonnant et menacé, à la frontière indécise de l’enfance, de la sauvagerie, de l’animalité et de la folie31.

67–68, cf. 115. 67. 306 (dans « L’homme et l’adversité », 1951). 24 Ibid. 306–307. 37. 58, PP p. 210. 305. 42. 29 Ibid. 52. 21 3 La crise moderne 27 s’estimait donc surhumain30. La raison absolue n’est pas humaine. Le pur rationalisme glorifie « l’Homme » en jugeant ce qui est véritablement humain (le corps, les passions, les contingences…) comme nul et non avenu. Dès lors l’humanité est la fragilité même, un sens naissant, toujours tâtonnant et menacé, à la frontière indécise de l’enfance, de la sauvagerie, de l’animalité et de la folie31.

Die Ur-Arche Erde bewegt sich nicht. Grundlegende Untersuchungen zum phänomenologischen Ursprung der Körperlichkeit der Räumlichkeit der 31 28 3 La crise moderne Découvrir une dimension imaginaire du réel est, nous semble-t-il, l’expression la plus juste, la plus aiguë, de la crise de la raison. Ainsi dans les entretiens de 1948, Merleau-Ponty décrit précisément cette crise comme conduisant l’homme moderne à « redécouvrir en lui-même toutes sortes de fantasmes, de rêveries, de conduites magiques, de phénomènes obscurs qui demeurent tout-puissants dans sa vie privée et publique, dans ses rapports avec les autres hommes, qui laissent même dans sa connaissance de la nature toutes sortes de lacunes par lesquelles s’insinue la poésie »38.

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