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Art Line Thought (Contributions To Phenomenology) Hardcover – November 30, 1995

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ISBN-13: 978-0792337744 ISBN-10: 0792337743 Edition: 1996th

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Product Details

  • Series: Contributions To Phenomenology (Book 21)
  • Hardcover: 498 pages
  • Publisher: Springer; 1996 edition (November 30, 1995)
  • Language: English
  • ISBN-10: 0792337743
  • ISBN-13: 978-0792337744
  • Product Dimensions: 6.1 x 1.2 x 9.2 inches
  • Shipping Weight: 2.2 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #11,990,582 in Books (See Top 100 in Books)

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3 of 4 people found the following review helpful By Lissa Wolsak on July 24, 2007
Format: Hardcover

Samuel Mallin, in his prodigious book "ART LINE THOUGHT", written over a period of 20 years and published by Kluwer Academic Publishers, The Netherlands, 1996, in cooperation with The Center for Advanced Research in Phenomenology, actuates a reflexive meditative quiescence and dazzlingly insightful, existential and hermeneutical phenomenology which ranges panoramically over art history, making use of its hypersophistocated yet completely accessible transitions through eidos, the formal content of a culture. Mallin begins with the radiant Korai/Kouroi, male and female sculptures of prehistoric Greece and proceeds through Minoan/Nazcan pottery and then on to the sculpture and dance-theatre of our eminent contemporaries: Richard Serra and Pina Bausch, respectively. Mallin, in the pure immediate and refluent hiddenness of qualities within the works themselves, generates a sublime union of biocentric ideas and flexuous intricacy much in harmony with string and feminist theories, beyond the confines of psycholinguistically bound operations of intellect.

Invigorated by what ultimately does exist in each artwork, Mallin offers us a rivulose hermeneutic and willowy epoché or suspended judgement, by way of that which shows itself, in itself; revealing the inside of an inherent dynamism and soul of an art object, to challenge degenerative facticity and obliterating hegemonies of regularity with their peculiar difficulties and manifest harshness; our plight within the ineluctable
predominance and transgression of science and monologicality, master narratives, machines and money, in particular, linear analysis and androcentrism anathema to holisms.
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