The realm of intentionality is definitive of phenomenology as a reflective methodology. Yet it is precisely the focus on the intentionalgiventhat has been condemned recently.Speculative realism argues that phenomenology is unsatisfactory since the reduction to the intentional realm excludes the ‘external’, i.e. reality independent of consciousness. This criticism allows me to clarify the nature of intentionality.Material phenomenologyfinds, in contrast, that the intentional realm excludes the ‘inner’. This criticism allows me to discuss the way in whichipseityenters as an element of experience. (...) Intentionality, viewed psychologically, is rightly the distinct arena of phenomenological psychology. However, there is no doubting the difficulty of maintaining a research focus precisely on the realm of intentionality; there areaporiasof the reduction. I discuss some of the difficulties. (shrink)

Perhaps owing to frictions between his Christological worldview and the dominant secularism of contemporary French thought as taken up in the U.S., and persistent worries about a seeming solipsism in his phenomenology, Michel Henry's innovative contributions to aesthetics have received unfortunately little attention in English. The present investigation addresses both issues simultaneously with a new interpretation of his recently-translated 1996 interview, “Art and Phenomenology.” Inspired by this special issue’s theme, “French Thought in Dialogue,” it emphasizes four levels of dialogue in (...) the interview, as follows: (1) the interview as such, with Brohm; (2) its titular dialogue between art and phenomenology; (3) what I term a “trans-religious” dialogue between Christianity’s Jesus and Nietzsche’s Dionysus; and (4) a related dialogue between painting (Henry’s favored genre) and dance that is “Dionysian” (in Nietzsche’s sense). It concludes with new phenomenological accounts of a literal and a figurative dance, namely the social Latin dance called bachata, and an improvised musical dialogue with the mockingbirds of my hometown. In sum, thanks to Henry’s engagement with various forms of dialogue, including with Brohm, the arts, paganism, and dance, one can find room in his transcendental subjectivity of Life for others, dancingly transcending even humanity. (shrink)