The esthetic experience from a phenomenological point of view

To read the full-text of this research, you can request a copy directly from the author.


This article focuses on the aesthetic experience as an experience based on the perception of the senses. The work is developed through a social psychology study based on phenomenology, particularly from Merleau-Ponty and Dufrenne points of view. The aesthetic experience is conceived as a mode of relationship mediated by the perception of an aesthetic object. Several aspects involved in aesthetic experience are analysed: sensitive and relational dimension; how the subject and the (aesthetic) object relate in the experience; the embodiment of the aesthetic experience; the question of intentionality in aesthetics; the aesthetic experience of Nature. We conclude that there is an ontological significance in the aesthetic experience as it takes shape as an opening to the new by contact with the otherness, thus promoting in the subject a new outlook on reality. At the end, the relevancy of this study to Social Psychology is pointed out.

No full-text available

Request Full-text Paper PDF

To read the full-text of this research,
you can request a copy directly from the author.

This assay aims at reading the dance from a phenomenological perspective, comprehending how it gets close to that conception, considering that it is a human and creative expression. The purpose of that reflection is to emphasize the dance, which is a form of art and culture, as an endless possibility of creation and human resignification. As an opening to the other in time and space, the dancing experience sprouts again in a new space-time living, remaining open to different ways of interpretation, refreshing significance, which is intentioned as much by who dances as by who appreciates it.
Full-text available
This text has for objective reflect about the moviment of a subject and his relation with the artistic creation, aiming that in this I process articulate herself dialeticaly the knowledge, do him and feel him. Was analysed the speeches collected with interviews and records in video of his participation in a subject discipline of the one course of Psychology. The reflections was suposted by theoretical of the Historical-Cultural Psychology. Was possible reveal the complexity of the trial of constitution of the person that, road creative activity, part of the reality and it transforms, transforming in that movement to itself even and to the way as signifies so much to its own as much as path the context of which actively participates. Keywords: Constitution of the subject; Creative activity; Artistic creation; Historical-cultural psychology; Objectivity and subjectivity.
Full-text available
Este texto apresenta o questionamento filosófico sobre a intersubjetividade, nas teorias fenomenológicas de Husserl, Scheler e Merleau-Ponty, considerando suas contribuições para o estudo psicológico da alteridade. Apresentam-se formas de surgimento do outro para mim e de sua possível presença como elemento constitutivo do mundo ao qual pertenço e, acima de tudo, como elemento que me constitui. Para que o outro possa ser reconhecido em sua radical alteridade não posso nem "instituí-lo" por comparação comigo mesmo, por analogia, nem por projeção ou introjeção e nem por processos de fusão afetiva. Estas são formas que excluem a possibilidade do reconhecimento do outro em sua diferença. Sugere-se que é a partir da experiência sensível/ perceptiva, na esfera própria de um corpo vivido, que é possível o reconhecimento do outro como diferença por meio de suas formas expressivas. Conclui-se, assim, que a noção de intersubjetividade poderia ser substituída com vantagens pela de intercorporeidade.
O corpo do artista na experiência estética contemporânea
  • A. Andriolo