Abstract

The article raises the subject of intentionality of art in the light of transformations that counter-intentional phenomenology and non-intentional phenomenology have undergone. The changes to the way intentionality was understood substantially influenced aesthetic reflection and for that reason the starting point for the article is the analysis of Edmund Husserl’s intentional phenomenology followed by counter-intentional phenomenology of Jean-Luc Marion and non-intentional phenomenology of Michel Henry. Next, we will analyse how the ideas were absorbed by the developing phenomenological reflection on art, which paradoxically resulted in counter-reduction of the world and existential opening to experiencing its contents thanks to art. At the same time, the changes in understanding intentionality opened new directions for research into the intentionality of art itself. Therefore, the article aims at pointing towards contemporary research areas for phenomenological aesthetics and also indicates major methodological problems related to counter-intentional and non-intentional research perspective.