Narodziny fenomenologii z ducha sztuki. Estetyczne początku ruchu fenomenologicznego w kontekście tzw. zwrotu estetycznego we współczesnej fenomenologii francuskiej

Daniel Roland Sobota


Among contemporary French phenomenology researchers, there is a opinion that there are two major trends which have led to fundamental transformations within the latest phenomenology. This is the so-called theological turn and aesthetic turn. Without questioning the original achievements of French phenomenological thought, the purpose of this article is a manifestation that these turns are a kind of “return” to the beginnings of the phenomenological movement. As it happens that, apart from Husserl’s early philosophy, right from the beginning of the phenomenological movement there was a strong interest in the school of phenomenologists for both aesthetic and theological issues. Narrowing research into aesthetics, this article presents early discussions on art, mainly on visual arts, taking into account, on the one hand, the artistic phenomenon of Munich, that is, the place of birth of the phenomenological movement, on the other hand, the philosophical contribution of the most important initiator of the movement, namely legendary phenomenologist Johannes Daubert (1877–1947).

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