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Exploring the relation between Paul Klee's philosophical thought and art, this book deals both with the impact of Klee's art on recent philosophy and with the relation between Klee's own theoretical writings and his art. Through various approaches the contributors show how Klee's ideas are realized in his art and how, conversely, his art serves to expand and develop his theoretical conceptions. Addressing temporality (Boehm); ascendancy and counterforce (Krell); artist as tree (Baracchi); visible space (Figal); nature sketches (Baumgartner); image of garden (Schmidt); prominence of rhythm (Barbarić); musical elements (Schuback); tragedy (Acosta); space of transformation (Vallega); Merleau-Ponty and Cézanne (Johnson)--these essays, taken comprehensively, mark a major contribution to the understanding of the philosophical depth of Klee's art and thought. This book is a reprint of Research in Phenomenology Volume 43, Issue 3.
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Research in Phenomenology is an international peer-reviewed journal for current research in phenomenology and contemporary continental philosophy as practiced in its global setting. In addition to critical studies of major themes and figures in this area of research, the journal publishes studies dealing with current topics at the intersection of philosophy and the humanities, as well as historical studies relevant to the phenomenological tradition. The journal devotes one issue each year to a special topic and includes in-depth reviews of significant, recently published books in this area of research.
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