Search results for ""Author J.J. Kockelmans""

Over the past decades many books and essays have been written on phenomeno­ logical psychology. Some of these publications are historical in character and were designed to give the reader an idea of the origin, meaning, and function of phenom­ enological psychology and its most important trends. Others are theoretical in nature and were written to give the reader an insight into the ways in which various authors conceive of phenomenological psychology and how they attempt. to justify their views in light of the philosophical assumptions underlying their conceptions. Finally, there are a great number of publications in which the authors do not talk about phenomenological psychology, but rather try to do what was described as possible and necessary in the first two kinds of publications. Some of these at­ tempts to do the latter have been quite successful; in other cases the results have 1 been disappointing. This anthology contains a number of essays which I have brought together for the explicit purpose of introducing the reader to the Dutch school in phenomenological psychology. The Dutch school occupies an important place in the phenomenological move­ ment as a whole. Buytendijk was one of the first Dutch scholars to contribute to the field, and for several decades he remained the central figure of the school.

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This book grew from a series of lectures presented in 1983 in the context of the Summer Program in Phenomenology at The Pennsylvania State University. For these lectures I made use of notes and short essays which I had written between 1978 and 1982 during interdisciplinary seminars on Heidegger's later philosophy in general, and on his philosophy of language and art in particular. The participants in these seminars consisted of faculty members and graduate students concerned with the sciences, the arts, literature, literary criticism, art history, art education, and philosophy. On both occasions I made a special effort to introduce those who did not yet have a specialized knowledge of Heidegger's philosophy, to his later way of thinking. In this effort I was guided by the conviction that we, as a group, had to aim for accuracy, precision, clarity, faithfulness, and depth, while at the same time taking distance, comparing Heidegger's views with ideas of other philosophers and thinkers, and cultivat­ ing a proper sense of criticism. Over the years it has become clear to me that among professional philoso­ phers, literary critics, scholars concerned with art history and art education, and scientists from various disciplines, there are many who are particularly interested in "Heidegger's philosophy of art". I have also become convinced that many of these dedicated scholars often have difficulty in understanding Heidegger's lectures on art and art works. This is understandable.

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