By Robert Sokolowski
Robert Sokolowski, a clergyman of the Archdiocese of Hartford, has taught philosophy on the Catholic college of the US considering the fact that 1963. He has written six books and diverse articles facing phenomenology, philosophy and Christian religion, ethical philosophy, and matters in modern technology. He has been an auxiliary chaplain at Bolling Air strength Base in Washington, D.C., in view that 1976 and was once named monsignor in 1993.
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Robert Sokolowski, a clergyman of the Archdiocese of Hartford, has taught philosophy on the Catholic college of the United States considering that 1963. He has written six books and diverse articles facing phenomenology, philosophy and Christian religion, ethical philosophy, and matters in modern technology. He has been an auxiliary chaplain at Bolling Air strength Base in Washington, D.
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Extra info for Edmund Husserl & the Phenomenological Tradition: Essays in Phenomenology (Studies in Philosophy and the History of Philosophy)
A whole which is a continuity of past cultural presents [379; 371]. "This whole continuity," Husserl writes, "is a unity of traditionalization up to the present, which is our present as [a process of] traditionalizing itself in flowing-static generality" [380; 371]. Second, the historicity of the artworld, this unity of tradition, does not imply artistic conservatism. There can and will be innovation, but if it is truly innovation in art, it can occur only against the artworld's horizon of history.
Such theories have the virtue of neatness, but Dickie observes that all of them suffer from the same failings. First, they claim to have found art's essence "in some highly visible property which is of some obvious value" [ D u o ] . The theorist inspects the individual work of art closely and hopes to find the essence there, like a pearl in an oyster, in some easily noted property. Second, while each of these properties may be found in some works of art, no one of them charac terizes every work of art [ D u o ] .
6 Despite appearances, the theory is not, or at least does not have to be, one of thoroughgoing relativism. It is also not a phenomenological theory in any kind of "official" Husserlian sense, but it does possess a number of features which would be fundamental to any phenomenological aesthetic rooted in the Crisis, and therefore furnishes clues for the shape such an aesthetic might assume. Husserl always showed great respect for clues, and we can do no less in this essay. a. The Traditional Approach in Aesthetic Theory Dickie claims that his theory is not traditional, and that it can re spond to the protean quality of the artworld precisely because it is not traditional.