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The French version of this book, Théorie du champ de la conscience (1957), appeared under the auspices of the International Phenomenological Society. This present version appears through the collaboration of the staff of the Duquesne Studies, Psychological Series. In writing this book, I wanted to make it a phenomenological study, not a book about phenomenology. The intention was to advance c- tain phenomenological problems rather than to present a survey of or a report on phenomenology. My point of view is that of the pheno- nologist at work, not of an observer of a methodology from without. While it appeared desirable to expound in a detailed manner some of Husserl's notions and theories which have importance for phenomen- ogy as a whole, I have con?ned my treatment to those which have direct and immediate reference to the problems treated in this study. The manuscript of this book was completed in 1953 before the appe- ance of several volumes of Husserliana among which vol. VI, Die Krisis der Europäischen Wissenschaften und die transzendentale Phänomenologie (1954), and vol. IX, Phänomenologische Psychologie (1962), have particular bearing upon the problems dealt with in this book. Also the most recent presentation of Gestalt theory by W. Metzger, Psychologie (1st ed. 1940, 2nd ed. 1954) did not come to my attention before the completion of the manuscript.
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Phenomenology’s Material Presence draws on recent work in phenomenology, embodiment, and cinema and extends the field by examining metaphysical presence in postcolonial cinema. Where other scholarship has assimilated insight from individual phenomenological thinkers, Phenomenology’s Material Presence utilizes the methods of these thinkers Husserl, Heidegger, and Merleau-Ponty to produce a richly textured and poetic essay that brings them into conversation. Through a meditation on three experimental videos by Trinidadian filmmaker Robert Yao Ramesar, this book makes the case that video performs an act of phenomenological inquiry. Phenomenology’s Material Presence extends our theorizing in both film studies and philosophy.
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