<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>In the debate over the ontological structures of the entity that exists as being-in-the-world, the French philosopher Henri Maldiney focuses his theoretical developments on the unintentional and pre-predicative dimension of experience, where sensing (<italic>sentir</italic>) takes its origin, and based on which the Existentials of “encounter”, “surprise” and “rhythm”, that are key to understanding the aesthetic-artistic experience, are explained in the horizon of transpassibility and transpossibility. Given that that dimension is the privileged field of encounter with art, this paper will raise the question of the nexus of the articulation between art and image. This question will be developed through the opposition of form and image, of the reality of image and the image of reality, and the aesthetic vision and imaginative vision. In this analysis, we will rely upon the Heideggerian conception of Existence, as well as some of Husserl’s and the neuro-psychiatrist Erwin Straus’s researches into the passive dimension of experience, with the purpose of showing how Maldiney, starting from them, contributed in a singular and significant way to the deepening of that unintentional dimension of existence which he calls “pathic”.</p>
</abstract>

In the debate over the ontological structures of the entity that exists as being-in-the-world, the French philosopher Henri Maldiney focuses his theoretical developments on the unintentional and pre-predicative dimension of experience, where sensing (sentir) takes its origin, and based on which the Existentials of “encounter”, “surprise” and “rhythm”, that are key to understanding the aesthetic-artistic experience, are explained in the horizon of transpassibility and transpossibility. Given that that dimension is the privileged field of encounter with art, this paper will raise the question of the nexus of the articulation between art and image. This question will be developed through the opposition of form and image, of the reality of image and the image of reality, and the aesthetic vision and imaginative vision. In this analysis, we will rely upon the Heideggerian conception of Existence, as well as some of Husserl’s and the neuro-psychiatrist Erwin Straus’s researches into the passive dimension of experience, with the purpose of showing how Maldiney, starting from them, contributed in a singular and significant way to the deepening of that unintentional dimension of existence which he calls “pathic”.

Art and Image in Henri Maldiney's Aesthetics

Phainomenon

This work is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License.

{"article-title":"Art and Image in Henri Maldiney's Aesthetics"}

In the debate over the ontological structures of the entity that exists as being-in-the-world, the French philosopher Henri Maldiney focuses his theoretical...

Art and Image in Henri Maldiney's Aesthetics

Publié en ligne: 05 oct. 2021

Pages: 135 - 159

Reçu: 08 mars 2019

Accepté: 11 juil. 2019

DOI: https://doi.org/10.2478/phainomenon-2019-0007

Mots clés
Maldiney, Art, Image, Aesthetic Vision, Pathic Dimension

© 2019 Alexandra M. Moreira do Carmo, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License.

Art and Image in Henri Maldiney's Aesthetics

Publié en ligne: 05 oct. 2021

Pages: 135 - 159

Reçu: 08 mars 2019

Accepté: 11 juil. 2019

DOI: https://doi.org/10.2478/phainomenon-2019-0007

Mots clésMaldiney, Art, Image, Aesthetic Vision, Pathic Dimension

© 2019 Alexandra M. Moreira do Carmo, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License.

Mots clés
Maldiney, Art, Image, Aesthetic Vision, Pathic Dimension