Critical theory and phenomenology : polemics, appropriations, perspectives
Author(s)
Bibliographic Information
Critical theory and phenomenology : polemics, appropriations, perspectives
（Contributions to phenomenology, v. 125）
Springer, c2023
Available at 5 libraries
Note
Includes bibliographical references and index
Description and Table of Contents
Description
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.
Table of Contents
1. The Function of Pre-theoretical Experience in Critical Theory and Phenomenology2. Eidetic Intuition and Physiognomic Interpretation3. Adorno's Genetic Phenomenology4. On Radio. Phenomenology and Critical Media Studies5. Benjamin and the Essence of Phenomenology6. Tactile Reception and Life-Worldly Circumspection7. History at the Crossroads: Heidegger and Surrealism 8. Statistic Intersubjectivity. A Phenomenology of Television Audiences9. Kracauer: The Birth of Dialectics from Phenomenological Sociology10. Sancho Panza and the Dialectics of Historic Film11. Conclusions
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