Abstract

The phenomenological tradition is commonly understood as the domain of “philosophy of the subject”, and in this regard it is often criticized in contemporary thought. In respect to it, the originality of Michel Henry is to enter into this tradition by formulating to it an inverse objection: a mistake of the “historic” phenomenology is that it has not been able to conceive the subject in its own being or better, in its “interiority”. The aim of this paper is to determine the meaning and scope of such criticism, the development of its consequences, not only regarding the positive concept of subjectivity but also in the sense of opening its possibilities to renew the understanding of artistic phenomenon.