LEADER 03701nam 2200649 a 450 001 9910452105303321 005 20200520144314.0 010 $a1-280-57717-7 010 $a9786613606884 010 $a1-4411-1506-4 035 $a(CKB)2550000000101361 035 $a(EBL)918763 035 $a(OCoLC)793996910 035 $a(SSID)ssj0000657941 035 $a(PQKBManifestationID)12313658 035 $a(PQKBTitleCode)TC0000657941 035 $a(PQKBWorkID)10680482 035 $a(PQKB)11765199 035 $a(MiAaPQ)EBC918763 035 $a(Au-PeEL)EBL918763 035 $a(CaPaEBR)ebr10562616 035 $a(CaONFJC)MIL360688 035 $a(EXLCZ)992550000000101361 100 $a20120109d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe phenomenology of modern art$b[electronic resource] $eexploding Deleuze, illuminating style /$fPaul Crowther 205 $a1st ed. 210 $aNew York $cContinuum International Pub. Group$d2012 215 $a1 online resource (301 p.) 225 1 $aKey Thinkers 300 $aDescription based upon print version of record. 311 $a1-4411-3091-8 311 $a1-4411-4258-4 320 $aIncludes bibliographical references and index. 327 $aCover; Half title; Seriespage; Title; Copyright; Contents; List of Illustrations; Acknowledgements; Introduction: The Interpretation of Modern Art; Chapter One: Releasing Style from Sensation: Deleuze, Francis Bacon and Modern Painting; Introduction; Part One; Part Two; Part Three; Part Four; Conclusion; Chapter Two: Origins of Modernism and the Avant-Garde; Introduction; Part One; Part Two; Part Three; Chapter Three: Nietzsche and the Varieties of Expressionism; Introduction; Part One; Part Two; Part Three; Part Four; Chapter Four: Merleau-Ponty's Cezanne; Introduction; Part One; Part Two 327 $aPart ThreePart Four; Conclusion; Chapter Five: Interpreting Cubist Space: From Kant to Phenomenology; Introduction; Part One; Part Two; Part Three; Part Four; Chapter Six: Duchamp, Kant, and Conceptual Phenomena; Introduction; Part One; Part Two; Conclusion; Chapter Seven: Greenberg's Kant and Modernist Painting; Introduction; Part One; Part Two; Chapter Eight: Deleuze and the Interpretation of Abstract Art; Introduction; Part One; Part Two; Conclusion; Chapter Nine: Plane Truths: Hans Hofmann, Modern Art and the Meaning of Abstraction; Introduction; Part One; Part Two; Part Three; Part Four 327 $aPart FiveConclusion; Notes; Bibliography; Index; Plates 1; Plates 2; Plates 3; Plates 4 330 $aAs a philosophical approach, phenomenology is concerned with structure in how phenomena are experienced. The Phenomenology of Modern Art uses phenomenological insights to explain the significance of style in modern art, most notably in Impressionism, Expressionism, Cezanne and Cubism, Duchampian conceptualism and abstract art. Paul Crowther explores this thematic approachin a new way, addressing specific visual artworks and tendencies in detail and introduces a new methodology- post-analytic phenomenology. It is this more critical, post-analytic orientation that allows the book to utilise some 410 0$aKey Thinkers 606 $aArt, Modern$y20th century 606 $aPhenomenology 608 $aElectronic books. 615 0$aArt, Modern 615 0$aPhenomenology. 676 $a709.04001 700 $aCrowther$b Paul$0170369 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910452105303321 996 $aThe phenomenology of modern art$92179596 997 $aUNINA