By Mikel Dufrenne
A perennial vintage within the SPEP sequence, the paintings is rounded out by a specified "Translator's Foreword" specially useful to readers in aesthetics attracted to the context and conditions round which the unique was once released in addition to the phenomenological historical past of the book.
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Additional info for The Phenomenology of Aesthetic Experience
And, at a deeper level, the experiences of creator and spectator are not unconnected; for the artist becomes the spectator of his own work as he creates it, and the spectator associates himself With the artist, whose act he recognizes in the work. That is why, although limiting ourselves to the experience of the spectator, we shall all the same need to evoke the creator. But the creator then in question is the one whom the work reveals, not the one who historically created the work. The creative act is not necessarily the same for the creator who originally performs it as for the spectator who imagines it through the work.
Phenomenology, p. gi. At several points Dufrenne even says explicitly that "the aesthetic object is nature" (pp. 85, 88, 91, 230). 53. Le Poetique, p. 4· It should be noted that, unlike Heidegger, Dufrenne does not make an essential distinction between metaphysics and ontology. "" · The four other books which appeared in the 1 g6os cannot be said to be as complementary to, or as continuous with, the Phenomenology as Le Poetique. Nor do they fulfill explicit promissory notes issued in the earlier work.
232). But whether the dichotomy is finally overcome or notand whether being is ever actually attained or not-its polar terms come to communicate with each other in the vital interaction called forth by aesthetic experience. Through art, I regain contact with the real as illuminated by the possible-and, beyond the real, I may gain a presentiment of being. In the concluding chapters of The Phenomenology of Aesthetic Experience, art and phenomenology are seen to join forces within the larger perspective afforded by ontology.
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