When it comes to the body, the professional pedagogical field shows a paradoxical attitude: With regard to sense-oriented school subjects, educational policies tend to underline a close relatedness of body and mind. However, where learning is primarily connected with mental activities and intellectual engagement, the body is rarely assigned an integral role. Discussing the grounding ideologies of this paradox, I will consult phenomenological and enactivist perspectives in order to develop an approach to embodied learning which takes into account both sense-oriented (...) as well as intellectual domains. I will argue that considering the interdependence of body and mind including their situatedness does not only benefit the cultivation of the body and the senses, but also opens up further perspectives for intellectual engagement. (shrink)

Phenomenological analysis traditionally focuses on the body as a phenomenon from a first person perspective. In feminist phenomenological thought, this has provoked a debate about whether only someone in the situation of being a woman can speak about a woman’s body. I want to discuss the challenges and the possibilities that a phenomenology of gendered bodies entails. A phenomenology that aims to raise awareness not only of the singularity and specificity of gendered bodies and the gender norms shaping their experiences, (...) but also of their differences and similarities, can benefit from critically reconsidering and enhancing the first-person approach. I will claim that the phenomenological focus on first-personal investigations does not need to be abandoned entirely in order to engage with gendered bodies in a non-essentialist and critical way, but can be fulfilled byway of an aesthetically framed concept of empathy (Einfühlung). (shrink)

In this article I aim to shed light on the question of whether aesthetic experience can constitute practical knowledge and, if so, how it achieves this. I will compare the approaches of Nelson Goodman and Edmund Husserl. Both authors treat the question of which benefits aesthetic experience can bring to certain basic skills. Though one could argue together with Goodman that repeated aesthetic experience allows for a trained and discriminating approach to artworks, Husserl argues that by viewing aesthetic objects we (...) can learn to perceive in a more undiluted fashion and to qualify our own perceptions against the backdrop of the conceptual framework that shapes our everyday experience. As a consequence, aesthetic experience is not to be regarded as something that only contributes to a normatively loaded involvement in the distinct field of the ‘aesthetic’. Reading Goodman with Husserl and vice versa, I will argue in support of a practical aesthetic knowledge account that mediates cognitivist-constructivist and phenomenological concerns and can thus overcome some of their respective shortcomings. The account I present is useful for understanding the practical value of aesthetic experience in and beyond the confined field of the arts. (shrink)

In seinen Analysen des Bildbewusstseins begreift Edmund Husserl das Bild als eine Herausforderung phänomenologischen Fragens. Diese Herausforderung begründet sich durch seine spezifische Gegenstands- und Erfahrungsstruktur, die das Bild als ein besonderes unter den Phänomenen auszeichnet, als ein Phänomen, das einen Unterschied zwischen wirklicher und vorgestellter Welt einführt und hierin Differenzbewusstsein konstituiert. Vor allem mit Blick auf das Thema der Zeit erweist sich die Auseinandersetzung mit der differentiellen Natur des Bildes als folgenreich. Iris Laners systematische Studie widmet sich der Aufgabe, den (...) heuristischen Wert der philosophischen Auseinandersetzung mit dem Bild für die Beantwortung der komplexen Frage nach der Zeit in und nach der Phänomenologie zu bestimmen. Damit unterstreicht sie nicht nur die Bedeutung des Bildes als Phänomen, sondern erörtert dieses auch als grundlegendes Konzept des Denkens. (shrink)