By Alan Paskow
During this research, Alan Paskow first asks why fictional characters, reminiscent of Hamlet and Anna Karenina, subject to us and the way they emotionally impact us. He then applies those inquiries to portray, demonstrating that definite work beckon us to view their contents as genuine. As emblematic of the basic issues of our lives, work, he argues, usually are not easily in our heads yet in our global. Paskow additionally situates the phenomenological method of the event of portray when it comes to modern faculties of proposal, rather Marxist, feminist, and deconstructionist.
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Additional resources for The Paradoxes of Art: A Phenomenological Investigation
I ﬁnd much that I agree with in John Dewey’s famous work, Art as Experience, volume 10 of the Late Works of John Dewey (Carbondale: Southern Illinois University Press, 1987). : Blackwell Publishers, 1992), a work that attempts to resurrect and to adapt to our own time many of Dewey’s insights. ” (“The Pragmatist’s Progress,” Interpretation and Overinterpretation (Cambridge: Cambridge University Press, 1992, p. 92). In the case of Dewey I believe that he is too much of a “scientist” in his fundamental philosophical outlook, a kind of biological philosopher who values artworks principally for their “life-enhancing” pleasures.
Husserliana X, ed. Rudolf Boehm (The Hague: Martinus Nijhoff, 1966), translated into English by John Brough (Dordrecht, The Netherlands: Kluwer Academic Publishers, 1991). 37. ” Therefore, it may seem to some in the ﬁeld that in this book I am simply  Introduction reasserting a view that has already been put forth and defended by others. Such an inference would be incorrect. Consider, as an example of what I do not reiterate, the main thesis of David Freedberg’s The Power of Images: Studies in the History and Theory of Response (Chicago and London: The University of Chicago Press, 1989).
50. , p. 55. 51. Ibid. 52. , p. 56. ”)  Introduction 53. There are several sections in Heidegger’s four volumes on Nietzsche, and there are some additional writings, for the most part still untranslated, on East Asian art and twentieth-century European painting, that also shed light on his theory of art. For a recent, sympathetic defense of Heidegger’s post–Being and Time reﬂections on this subject, see Julian Young, Heidegger’s Philosophy of Art (Cambridge: Cambridge University Press, 2001).
The Paradoxes of Art: A Phenomenological Investigation by Alan Paskow