- Tytuł:
- Metamorphoses of the Subject: Kandinsky Interpreted by Michel Henry and Henri Maldiney
- Autorzy:
- Yampolskaya, Anna
- Powiązania:
- https://bibliotekanauki.pl/articles/2158919.pdf
- Data publikacji:
- 2018
- Wydawca:
- Projekt Avant
- Tematy:
-
aesthesis
French phenomenology
Henri Maldiney
Michel Henry
phenomenological aesthetics
Wassily Kandinsky - Opis:
- In this paper I compare how Michel Henry and Henri Maldiney interpret Kandinsky’s heritage. Henry’s phenomenology is based on a distinction between two main modes of manifestation: the ordinary one, that is, the manifestation of the world, and the “manifestation of life.” For him, Kandinsky’s work provides a paradigmatic example of the second, more original mode of manifestation, which is free from all forms of self-alienation. Henry claims that this living through the work of art is transformative; it is akin to ascetic practice or mystical experience that goes beyond the distinction of the subject and the object. Maldiney acknowledges Kandinsky’s work as an attempt to provide access to an a-cosmic and ahistoric experience of one’s inner self; yet for him this is not a positive characteristic. For Maldiney, the key distinction is not between modes of phenomenalisation, but between the dimensions of meaning (sens). For him there is no radical self-transformation which is not a transformation of one’s being-in-the-world and one’s meaning of the world, and so Kandinsky’s a-cosmic paintings cannot induce a true transformation of the self. I conclude that the disagreement of Henry and Maldiney on Kandinsky does not unfold on the level of phenomenological description of concrete aesthetic experience, but on the level of metaphysics.
- Źródło:
-
Avant; 2018, 9, 2; 157-167
2082-6710 - Pojawia się w:
- Avant
- Dostawca treści:
- Biblioteka Nauki
Artykuł