- 29 June 2016
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MORITZ GEIGER
ON THE PHENOMENOLOGY OF THE AESTHETIC ENJOYMENT
Title in the language of publication: |
МОРИЦ ГАЙГЕР К ФЕНОМЕНОЛОГИИ ЭСТЕТИЧЕСКОГО НАСЛАЖДЕНИЯ |
Translation from German: | Olesya Bessmel'tseva |
Issue: |
HORIZON. Studies in Phenomenology. Vol. 5, №1 (2016),  258-271 |
Language: | Russian |
Document type: | Translation |
Translated from: | Geiger, M. (1913). Beiträge zur Phänomenologie des ästhetischen Genusses. Jahrbuch für Philosophie und phänomenologische Forschung, 1, 567-684. |
DOI : 10.18199/2226-5260-2016-5-1-258-271 | PDF (Downloads: 3586) |
Abstract
The following fragment represents the aesthetical researches of the German philosopher Moritz
Geiger acted in the first half of the 20th century, whose works are considered to have initiated the
phenomenological approach in the aesthetic domain. Being a fellow by many bright personalities, the
representatives of the psychological aesthetic (Wundt, Lipps), Geiger favours on the one hand the
psychological approach for it leads out of the speculative philosophism into empirical experience. On
the other hand Geiger gets close with phenomenology and Husserl and belongs since 1907 to the Munich
school of phenomenology. Geiger sees in the phenomenological approach an opportunity to shift the
focus from the feeling subject to the aesthetic object. He insists on the permissibility and rather necessity
of speaking about the objective aesthetic characteristics of an artwork. They are the aesthetic values,
which mark an object of aesthetic enjoyment. So in the fragment below Geiger focuses first on the
phenomenological nature of the aesthetic enjoyment. In the attached fragment Geiger proceeds from
the Kantian argumentation about the particularities of aesthetic enjoyment and analyses the aesthetic
enjoyment in its relation to the interest and the will of an individual as an enjoying subject. The preface
introduces the general structure of the article, its stepwise concretizing of the problem domain beginning
with the outline of the phenomenological bounds of pleasure in general and moving toward the narrow
analysis of the aesthetic enjoyment in particular and its relation to the axiology and the psychological
phenomenology. Thus the main peculiarities of Geiger’s phenomenological method could be put to the
scrutiny of his analysis of the chosen distinct domain as well as his tendency to avoid any schematism
and any simplification within the domain. That makes Geiger’s language such an subtle and sensitive
instrument for it should be able to articulate the slightest nuances of pleasure types.
Key words
Phenomenological aesthetic, psychologism, aesthetic enjoyment, will, interests, Kant, Schopenhauer.
References
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