Aesthetic Experience and Aesthetic Object

633 Pages·2013·28.43 MB·English

Northwestern University
g
Phenomenology
sTuDIEs IN
Existential Philosophy
GENERAL EDITOR
]ames M. Edie
CONSULTING EDITORS
Hubert L. Dreyfus
William Earle
]. N. Findlay
Dagfinn F¢llesdal
Marjorie Grene
Aron Gurwitsch
Emmanuel Levinas
Alphonso Lingis
Maurice N atanson
Paul Ricoeur
George Schrader
Calvin 0. Schrag
Herbert Spiegelberg
Charles Taylor
The Phenomenology
of Aesthetic Experience
Mikel Dufrenne
Translated by
The Phenomenology
of Aesthetic Experience
EDWARD S. CASEY
ALBERT A. ANDERSON
WILLIS DOMINGO
LEON JACOBSON
NoRTHWESTERN UNIVERSITY PRESS
EVANSTON I 9 7 3
Copyright© 1973 by Northwestern University Press
All rights reserved
library of Congress Catalog Card Number: 73-76806
Clothbound ISBN 0-8101-0426-1
Paperbound ISBN 0-8101-0591-8
Printed in the United States of America
First clothbound printing, 1973
Second clothbound printing, 1979
First paperbound printing, 1979
Originally published in French under the title
Phenomenologie de l'expbience esthetique, by
Mikel Dufrenne, © 1953, by Presses Universi
taires de France.
Edward S. Casey is Associate Professor of Phi
losophy at Yale University.
Albert A. Anderson is Associate Professor of
Philosophy at Clark University.
Willis Domingo is a Ph.D. candidate in History
of Art at Princeton University and presently
a Fulbright Fellow in Paris.
Leon Jacobson has taught History of Art at
several universities and is presently associated
with Americana Prints.
To MY FRIENDS
Contents
Translator's Foreword by Edward S. Casey I xv
Introduction: Aesthetic Experience and Aesthetic Object 1 xlv
PART J: PHENOMENOLOGY OF THE AESTHETIC OBJECT
I j Aesthetic Object and Work of Art I 3
2 I The Work and Its Performance I 19
[I] The Arts in which the Performer Is Not the Creator
1 20
[II] The Arts in which the Performer Is the Creator I 30
[Ill] Reproductions I 38
3 1 The Work and Its Public I 46
[I] What the Work Expects of the Spectator I 47
(a) The performer I 48
(b) The witness I 55
[II] What the Work Brings to the Spectator I 6o
(a) Taste I 61
(b) The constitution of a public I 63
4 1 The Aesthetic Object amid Other Objects I 72
[I] The Aesthetic Object and the Living Being I 73
[II] The Aesthetic Object and the Natural Object I 79
(a) The natural object and the object of use I 79
(b) Aesthetic object and nature I 84
[III] The Aesthetic Object and the Object of Use I 92
(a) V sefulness I 92
(b) The presence of the creator I 96
[xi]
xii I c 0 N T E ~'1' s
(c) Style I Io3
[IV] The Aesthetic Object and the Signifying Object III4
(a) From signification to expression 1 I I 6
(b) Expression in language 1 I25
(c) Expression in the aesthetic object 1 I35
Conclusion: Nature and Form I I38
5 I Aesthetic Object and World I I47
[I] The Aesthetic Object in the World 1 149
(a) The aesthetic object in space I 149
(b) The aesthetic object in time 1 I 55
[II] The World of the Aesthetic Object 1 I66
(a) The represented world I I 6g
(b) The expressed world I I76
(c) The represented world and the expressed world
I I85
(d) The objective world and the world of the aes
thetic object 1 I go
6 1 The Being of the Aesthetic Object I I99
[I] The Doctrines I 200
(a) Sartre I 200
(b) Ingarden I 206
(c) De Schloezer I 2I2
(d) Conrad I 2I5
[II] The Aesthetic Object as a Perceived Object 1 2 I 8
(a) The perceived object I 2 I 8
(b) The aesthetic object and form I 222
PART II: ANALYSIS OF THE WoRK OF ART
7 1 The Temporal Arts and the Spatial Arts I 239
8 1 The Musical Work I 249
[I] Harmony I 249
[II] Rhythm I 256
[III] Melody I 265
g I The Pictorial Work I 274
[I] The Temporalization of Space I 275
[II) The Structure of the Pictorial Object 1 282
(a) Harmony I 283
(b) Rhythm I 29I
(c) Melody I 298