Authors
Ashley Woodward
Dundee University
Abstract
ABSTRACTThis paper examines the relationship of Jean-François Lyotard’s aesthetics to phenomenology, especially the works of Mikel Dufrenne and Maurice Merleau-Ponty. It argues that this comparison allows a greater understanding of Lyotard’s late aesthetic writings, which can appear gnomic and which have received relatively little critical attention. Lyotard credits Merleau-Ponty with opening the theme of difference in the aesthetic field, yet believes that the phenomenological approach can never adequately account for it. After outlining Lyotard’s early critiques of Dufrenne and Merleau-Ponty, the paper will demonstrate how his late aesthetics can be understood as returning to phenomenological themes but in the form of a reversal. Lyotard’s “lesson of darkness” is that the secret power of art can never be brought into the light of phenomenal appearance, and that artworks do not testify to the birth of perception, but to its death and resurrection.
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DOI 10.1080/00071773.2018.1518659
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References found in this work BETA

The Visible and the Invisible.B. Falk - 1970 - Philosophical Quarterly 20 (80):278-279.
Heidegger and the Jews.Jean-Francois Lyotard - 1990 - Univ of Minnesota Press.
Postmodern Fables.Jean-Francois Lyotard - 1999 - Univ of Minnesota Press.
The Phenomenology of Aesthetic Experience.Marcia Cavell Aufhauser - 1975 - Journal of Philosophy 72 (2):49-53.

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