Name: The Aesthetics of Desire and Surprise: Phenomenology and Speculation (en Inglés)
Price: 229.58 PEN
Availability: InStock
Author: Skorin-Kapov, Jadranka
ISBN: 9781498518482

portada The Aesthetics of Desire and Surprise: Phenomenology and Speculation (en Inglés)

The Aesthetics of Desire and Surprise: Phenomenology and Speculation (en Inglés)

Formato

Libro Físico

Autor

Jadranka Skorin-Kapov

Editorial

Lexington Books

Idioma

Inglés

N° páginas

212

Encuadernación

Tapa Blanda

Dimensiones

22.4 x 15.0 x 1.8 cm

Peso

0.29 kg.

ISBN13

9781498518482

Categorías

Historia del arte
Fenomenología y existencialismo
Filosofía: estética

The Aesthetics of Desire and Surprise: Phenomenology and Speculation (en Inglés)

Jadranka Skorin-Kapov (Autor) · Lexington Books · Tapa Blanda

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Reseña del libro "The Aesthetics of Desire and Surprise: Phenomenology and Speculation (en Inglés)"

The Aesthetics of Desire and Surprise: Phenomenology and Speculation covers issues central to contemporary continental philosophy (desire, expectations, excess, rupture, transcendence, immanence, surprise). The proposed term desiresurprise captures the phenomenological-speculative character of the pair not yet and no longer. Non-obvious parallels between different thinkers are drawn, and the argumentation is organized around philosophical figures relevant in the sequence desire - excess -pause (rupture, break) - recuperation (surprise). The works of Levinas, Zizek, Bataille, Blanchot, Foucault, and Ricoeur are interpreted and positioned according to the proposed template of desire - excess - pause. The consideration of limit experiences involves authors fascinated by transgression, and the question of whether excess is immanent or transcendent. This discussion considers works by Nietzsche, Deleuze, Zizek, and Foucault. The analysis of surprise and the beginning of recovery after the pause considers works by Fink, Merleau-Ponty, Nancy, Lyotard, Dufrenne, Bachelard, and Seel. The provocative argument elaborated in this work is that surprise starts with indifference. Furthermore, the argument is that surprise begins where the concept reaches its ending, hence that the limit of speculative thinking at its ending is the limit of aesthetics at its beginning. The work of Hegel, Schelling and Jaspers are discussed in order to argue for the beginning of aesthetics there where knowledge ends. Philosophical thematic is contextualized via sections on artists such as Duchamp and Mondrian, and on some films, provoking interest of aestheticians working in art history and cultural studies departments.