Phenomenology on Art - Dictionary of Arguments
Gadamer I 89
Art/Phenomenology/Gadamer: Basically, it is only thanks to the phenomenological criticism of 19th century psychology and epistemology that we owe the liberation from the concepts that prevented an adequate understanding of aesthetic being. [Phenomenological criticism] has shown that all attempts go astray to think of the aesthetic mode of being from a perspective of the experience of reality and to understand it as a modification thereof(1). All these concepts, such as imitation, appearance, de-realization (German: "Entwirklichung"), illusion, magic, dream, presuppose the reference to an actual being, from which the aesthetic being is distinguished. Now, however, the phenomenological decline in aesthetic experience teaches us that it does not come from such a reference at all, but rather sees the actual truth in what it experiences. This corresponds to the fact that the aesthetic experience cannot, in essence, be disappointed by an actual experience of reality. Cf. >Aesthetics/Schiller, >Aesthetics/Gadamer, >Truth of Art/Gadamer.
1. Vgl. E. Fink, Vergegenwärtigung und Bild, Jb. f. Philos. u. phän. Forsch. Bd. XI, 1930._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.
Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010
H. G. Gadamer
The Relevance of the Beautiful, London 1986
Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977