The question of the relation between human and non-human animals in theoretical, ethical and political regards has become a prominent topic within the philosophical debates of the last two decades. This volume explores in substantial ways how phenomenology can contribute to these debates. It offers specific insights into the description and interpretation of the experience of the non-human animal, the relation between phenomenology and anthropology, the relation between phenomenology and psychology, as well as ethical considerations.

The question of the relation between human and non-human animals in theoretical, ethical and political regards has become a prominent topic within the philosophical debates of the last two decades. This volume explores in substantial ways how phenomenology can contribute to these debates. It offers specific insights into the description and interpretation of the experience of the non-human animal, the relation between phenomenology and anthropology, the relation between phenomenology and psychology, as well as ethical considerations.

Phenomenology and the Arts develops the interplay between phenomenology as a historical movement and a descriptive method within Continental philosophy and the arts. Divided into five themes, the book explores first how the phenomenological method itself is a kind of artistic endeavor that mirrors what it approaches when it turns to describe paintings, dramas, literature, and music. From there, the book turns to an analysis and commentary on specific works of art within the visual arts, literature, music, and sculpture. Contributors analyze important historical figures in phenomenology-Kant, Hegel, Husserl, Heidegger, and Merleau-Ponty. But there is also a good deal of work on art itself-Warhol, Klee, jazz, and contemporary and renaissance artists and artworks. Edited by Peter R. Costello and Licia Carlson, this book will be of interest to students in philosophy, the arts, and the humanities in general, and scholars of phenomenology will notice incredibly rich, groundbreaking research that helps to resituate canonical figures in phenomenology with respect to what their works can be used to describe.

Phenomenology and the Arts develops the interplay between phenomenology as a historical movement and a descriptive method within Continental philosophy and the arts. Divided into five themes, the book explores first how the phenomenological method itself is a kind of artistic endeavor that mirrors what it approaches when it turns to describe paintings, dramas, literature, and music. From there, the book turns to an analysis and commentary on specific works of art within the visual arts, literature, music, and sculpture. Contributors analyze important historical figures in phenomenology-Kant, Hegel, Husserl, Heidegger, and Merleau-Ponty. But there is also a good deal of work on art itself-Warhol, Klee, jazz, and contemporary and renaissance artists and artworks. Edited by Peter R. Costello and Licia Carlson, this book will be of interest to students in philosophy, the arts, and the humanities in general, and scholars of phenomenology will notice incredibly rich, groundbreaking research that helps to resituate canonical figures in phenomenology with respect to what their works can be used to describe.

Christian Lotz argues that Immanuel Kant's idea of a mental schematism, which gives the human mind access to a stable reality, can be interpreted as a social concept, which, using Karl Marx, the author identifies as money. Money and its "fluid" form, capital, constitute sociality in capitalism and make access to social reality possible. Money, in other words, makes life in capitalism meaningful and frames all social relations. Following Marx, Lotz argues that money is the true Universal of modern life and that, as such, we are increasingly subjected to its control. As money and capital are closely linked to time, Lotz argues that in capitalism money also constitutes past and future "social horizons" by turning both into "monetized" horizons. Everything becomes faster, global, and more abstract. Our lives, as a consequence, become more mobile, "fluid," unstable, and precarious. Lotz presents analyses of credit, debt, and finance as examples of how money determines the meaning of future and past, imagination, and memory, and that this results in individuals becoming increasingly integrated into and dependent upon the capitalist world. This integration and dependence increases with the event of electronics industries and brain-science industries that channel all human desires towards profits, growth, and money. In this way, the book offers a critical extension of Theodor Adorno's analysis of exchange and the culture industry as the basis of modern societies. Lotz argues-paradoxically with and against Adorno-that we should return to the basic insights of Marx's philosophy, given that the principle of exchange is only possible on the basis of more fundamental social and economic categories, such as money.

Der vorliegende Band versammelt Beiträge von Philosophen und Philosophinnen innerhalb der phänomenologischen Forschung, speziell derjenigen Husserls. Die Beiträge zeichnen sich durch ihre innovative Kraft aus, da sie Neuland betreten und der phänomenologischen Forschung neue Wege eröffnen. Die Beiträge repräsentieren den gegenwärtigen Forschungsstand auf internationalem Niveau. Forscher und Forscherinnen aus Österreich, Deutschland, Dänemark, Japan, Taiwan, Italien und den USA sind versammelt. Dieser Band enthält fünf Beiträge in englischer Sprache.

Marxism and Phenomenology: The Dialectical Horizons of Critique, edited by Bryan Smyth and Richard Westerman, offers new perspectives on the possibility of a philosophical outlook that combines Marxism and phenomenology in the critique of capitalism. Although Marxism's focus on impersonal social structures and phenomenology's concern with lived experience can make these traditions appear conceptually incompatible, the potential critical force of a theoretical reconciliation inspired several attempts in the twentieth century to articulate a phenomenological Marxism. Updating and extending this approach, the contributors to this volume identify and develop new and previously overlooked connections between the traditions, offering new perspectives on Marx, Husserl, and Heidegger; exploring themes such as alienation, reification, and ecology; and examining the intersection of Marxism and phenomenology in figures such as Michel Henry, Walter Benjamin, and Frantz Fanon. These glimpses of a productive reconciliation of the respective strengths of phenomenology and Marxism offer promising possibilities for illuminating and resolving the increasingly intense social crises of capitalism in the twenty-first century.

This volume brings Continental philosophical interpretations of Van Gogh into dialogue with one another to explore how for Van Gogh, art places human beings in their world, and yet in other ways displaces them, not allowing them to belong to that world.

The Art of Gerhard Richter: Hermeneutics, Images, Meaning presents the first philosophical investigation of, arguably, one of the most popular and important painters working today, Gerhard Richter. From monochrome painting and photo realism to conceptual art and gesture-expressive painting, Richter has transformed the spectrum of 20th-Century painting. Building upon Gadamer's notion of 'formed images', the book outlines elements of a hermeneutics and a phenomenology of images and paintings. Moreover, the hermeneutic approach to art is combined with the crucial question of how paintings and photographs are related to each other for Richter. The author suggests that paintings "open up" the fixed relation and intentionality of photographs by idealizing and essentializing the content of the photographs. By relying upon a hermeneutical and phenomenological approach, rather than working from abstract theory, The Art of Gerhard Richter provides philosophical insights developed out of Richter's works of art. Uncovering key philosophical aspects of Richter's work, the author's reflections discuss the relation between appearance and essence, the role of faith and hope, the dialectic of distance and nearness, the issues of death and terror, and the role of beauty and landscapes in Richter's paintings.

Christian Lotz argues that Immanuel Kant's idea of a mental schematism, which gives the human mind access to a stable reality, can be interpreted as a social concept, which, using Karl Marx, the author identifies as money. Money and its "fluid" form, capital, constitute sociality in capitalism and make access to social reality possible. Money, in other words, makes life in capitalism meaningful and frames all social relations. Following Marx, Lotz argues that money is the true Universal of modern life and that, as such, we are increasingly subjected to its control. As money and capital are closely linked to time, Lotz argues that in capitalism money also constitutes past and future "social horizons" by turning both into "monetized" horizons. Everything becomes faster, global, and more abstract. Our lives, as a consequence, become more mobile, "fluid," unstable, and precarious. Lotz presents analyses of credit, debt, and finance as examples of how money determines the meaning of future and past, imagination, and memory, and that this results in individuals becoming increasingly integrated into and dependent upon the capitalist world. This integration and dependence increases with the event of electronics industries and brain-science industries that channel all human desires towards profits, growth, and money. In this way, the book offers a critical extension of Theodor Adorno's analysis of exchange and the culture industry as the basis of modern societies. Lotz argues-paradoxically with and against Adorno-that we should return to the basic insights of Marx's philosophy, given that the principle of exchange is only possible on the basis of more fundamental social and economic categories, such as money.

This volume brings Continental philosophical interpretations of Van Gogh into dialogue with one another to explore how for Van Gogh, art places human beings in their world, and yet in other ways displaces them, not allowing them to belong to that world.