Eugen Fink Und Die Ph Nomenologie

Historically, phenomenology began in Edmund Husserl’s theory of mathematics and logic, went on to focus for him on transcendental rst philosophy and for others on metaphysics, philosophical anthropology, and theory of interpretation. The c- tinuing focus has thus been on knowledge and being. But if one began without those interests and with an understanding of the phenomenological style of approach, one might well see that art and aesthetics make up the most natural eld to be approached phenomenologically. Contributions to this eld have continually been made in the phenomenological tradition from very early on, but, so to speak, along the side. (The situation has been similar with phenomenological ethics. ) A great deal of thought about art and aesthetics has nevertheless accumulated during a century and a handbook like the present one is long overdue. The project of this handbook began in conversations over dinner in Sepp’s apa- ment in Baden-Baden at one evening of the hot European summer in the year 2003. As things worked out, he knew more about whom to ask and how much space to allocate to each entry and Embree knew more about how to conduct the inviting, preliminary editing, and prodding of contributors who were late returning their criticized drafts and copyedited entries and was able to invest the time and other resources from his endowed chair. That process took longer than anticipated and there were additional unfortunate delays due to factors beyond the editors’s control.

Includes entries for maps and atlases.

"Ronald Bruzina's superb translation... makes available in English a text of singular historical and systematic importance for phenomenology." -- Husserl Studies "... a pivotal document in the development of phenomenology... essential reading for students of phenomenology twentieth-century thought." -- Word Trade "... an invaluable addition to the corpus of Husserl scholarship. More than simply a scholarly treatise, however, it is the result of Fink's collaboration with Husserl during the last ten years of Husserl's life.... This truly essential work in phenomenology should find a prominent place alongside Husserl's own works. For readers interested in phenomenology -- and in Husserl in particular -- it cannot be recommended highly enough." -- Choice "... a thorough critique of Husserl's transcendental phenomenology... raises many new questions.... a classic." -- J. N. Mohanty A foundational text in Husserlian phenomenology, written in 1932 and now available in English for the first time.

"[A] magnificent work... that will definitely shape the discussion on Derrida for years to come." -- Rodolphe Gasché What is the nature of the relationship of Jacques Derrida and deconstruction to Edmund Husserl and phenomenology? Is deconstruction a radical departure from phenomenology or does it trace its origins to the phenomenological project? In Derrida and Husserl, Leonard Lawlor illuminates Husserl's influence on the French philosophical tradition that inspired Derrida's thought. Beginning with Eugen Fink's pivotal essay on Husserl's philosophy, Lawlor carefully reconstructs the conceptual context in which Derrida developed his interpretation of Husserl. Lawlor's investigations of the work of Jean Cavaillà ̈s, Tran-Duc-Thao, and Jean Hyppolite, as well as recent texts by Derrida, reveal the depth of Derrida's relationship to Husserl's phenomenology. Along the way, Lawlor revisits and sheds light on the origin of many important Derridean concepts, such as deconstruction, the metaphysics of presence, différance, intentionality, the trace, and spectrality.

Drawing upon both Husserl's published works and posthumous material, Husserl's Phenomenology incorporates the results of the most recent Husserl research. It can consequently serve as a concise and updated introduction to his thinking.