Suchergebnisse

"Topophobia: A Phenomenology of Anxiety is a vivid second-person inquiry into how anxiety plays a formative part in the constitution of subjectivity. While anxiety has assumed a central role in the history of philosophy -- and phenomenology in particular -- until now there has been no sustained study of how it shapes our sense of self and being in the world. This book seeks to address that lacuna. Calling upon the author's own experience of being agoraphobic, it asks a series of critical questions: How is our experience of the world affected by our bodily experience of others? What role do moods play in shaping our experience of the world? How can we understand the role of conditions such as agoraphobia in relation to our normative understanding of the body and the environment? What is the relation between anxiety and home? The reader will gain an insight into the strange experience of being unable to cross a bridge, get on a bus, and enter a supermarket without tremendous anxiety. At the same time, they will discover aspects of their own bodily experience that are common to both agoraphobes and non-agoraphobes alike. Integrating phenomenological inquiry with current issues in the philosophy of mind, Trigg arrives at a renewed understanding of identity, which arranges self, other and world as a unified whole. Written with a sense of vividness often lacking in academic discourse, this is living philosophy."--Bloomsbury Publishing

Tarrying with the nothing -- Silence, violence, and nothingness -- An uncanny memory -- The specter of exile -- Dark night of the soul -- Impossible nostalgia -- The decline of postmodernism? -- The revolt of reason -- A short history of decay -- Modern ruins -- The post-industrial sublime -- The phenomenology of the alleyway -- Aesthetic revulsion: staircases and rust -- Urban exploration -- Space and centre: the ruin as home -- Memories in ruin

Accusations of empty formalism are something of a cliché when it comes to Kant's ethics and aesthetics. Nevertheless, in the case of the latter, the accusation might well be justified. Kant's failure to put disinterestedness in place means that numerous questions remain unanswered concerning the spatiality of aesthetic experience. The purpose of this article is to ask whether a specific spatial context can influence the emergence of Kant's disinterested delight. The author hence asks two questions: First, is there a definite distinction between interested and disinterested delight? Second, if there is such a distinction, do there exist any factors that would facilitate disinterestedness to occur? Making recourse to an essay by Siegfried Kracauer, as well as compositions by Erik Satie and Brian Eno, the author argues that context does have an influence on the distinction between disinterestedness and interestedness and that the hotel lobby is an excellent illustration of a spatial context that facilities disinterested delight for the reason that it is largely impersonal, indifferent, and so universal.