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Titlebook: Critical Theory and Phenomenology; Polemics, Appropriat Christian Ferencz-Flatz Book 2023 The Editor(s) (if applicable) and The Author(s),

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書目名稱Critical Theory and Phenomenology
副標題Polemics, Appropriat
編輯Christian Ferencz-Flatz
視頻videohttp://file.papertrans.cn/241/240159/240159.mp4
概述Uniquely and extensively covers the phenomenological heritage of critical theory.Brings together a historical account of disparate fields with analysis and applications in media theory.Documents the e
叢書名稱Contributions to Phenomenology
圖書封面Titlebook: Critical Theory and Phenomenology; Polemics, Appropriat Christian Ferencz-Flatz Book 2023 The Editor(s) (if applicable) and The Author(s),
描述.This book outlines the most important points of intersection between early phenomenology and critical theory. It develops extensive analyses’ of specific instruments of the phenomenological method such as eidetic intuition and the procedures of genetic phenomenology.? These procedures were both criticized and reappropriated by some of the most notable early critical theorists such as Adorno, Benjamin, Kracauer and Marcuse. As such, the book offers the first extensive account of the important phenomenological heritage of critical theory. ..This book also attests to the versatility of the phenomenological method, which can be shown to have influenced a wide array of approaches within the critical tradition. The chapters focus on these early critical theorists and also discuss the applications of their methods within the treatment of numerous media-theory issues. In so doing, the book shows how fertile a critically reappropriated phenomenology may prove for tackling contemporary media phenomena such as television, film and advertising.? This volume appeals to students and researchers working in the crosshairs of phenomenology, critical theory, and media studies. .
出版日期Book 2023
關鍵詞phenomenological method; history of continental philosophy; eidetic intuition; genetic phenomenology; ph
版次1
doihttps://doi.org/10.1007/978-3-031-27615-6
isbn_softcover978-3-031-27617-0
isbn_ebook978-3-031-27615-6Series ISSN 0923-9545 Series E-ISSN 2215-1915
issn_series 0923-9545
copyrightThe Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl
The information of publication is updating

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沙發(fā)
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板凳
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https://doi.org/10.1007/978-3-031-27615-6phenomenological method; history of continental philosophy; eidetic intuition; genetic phenomenology; ph
地板
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5#
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levance for critical theory as well. To this extent, I start off with a brief overview of phenomenological approaches to pre-theoretical experience and their relationship to empirical research. In sketching out some of the overlaps between phenomenology and early critical theory in this regard, I th
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發(fā)表于 2025-3-22 13:59:08 | 只看該作者
Wie wird ein Kassenkonto geführt ?rly period during the 1920s and 1930s was marked by various critical discussions of Husserl. This engagement finds its peak during his work at his second dissertation project in Oxford, a dissertation that was supposed to systematicaly expose the antinomies of phenomenological thinking while particu
7#
發(fā)表于 2025-3-22 19:33:44 | 只看該作者
Welche Buchführungsformen gibt es?ons may hold true for Husserl’s early writings, they certainly don’t apply when considering his later thinking and especially his turn to genetic phenomenology. This view generally rests upon the assumption that Adorno was by no means familiar with those later aspects of Husserl’s philosophy. Agains
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Warum mu? der Kaufmann Bücher führen ? extent, it dwells extensively on his readings of Paul Linke’s essay “Das Recht der Ph?nomenologie” and his keen reception of the works of Moritz Geiger. In tackling such historical considerations, the chapter finally arrives at outlining Benjamin’s original appropriation of “intentionality”, while
10#
發(fā)表于 2025-3-23 08:24:52 | 只看該作者
Wie wird der Buchungssatz gebildet?of films. His comparison is centered on the peculiar concept of “tactile reception,” he opposes to the traditional way of perceiving art. The concept indicates that films do not require a contemplative, focused attention, but a habitual, distracted approach, similar to that by which we perceive buil
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