This article on the early history of phenomenological psychological research in the academic context in America focuses on the four approaches of the following respective psychologists: 1) Donald Snygg, Arthur W. Combs, and Anne C. Richards and Fred Richards; 2) Robert B. MacLeod; 3) Adrian L. van Kaam; and 4) Amedeo P. Giorgi. It begins by first addressing the "context" for this early history namely, the European origin of philosophical phenomenology and the connection of it with the psychology of its (...) times in Europe, and then the American background for the development of a sensibility for phenomenology and an eventual connection of phenomenology with psychology. Each of the four positions was examined in terms of basic approach to the study of human experience and behavior. That is, examination was directed toward whether the respective position was under the aegis of psychology as a human science or as a natural science. Also examined were the research postures and the methodologies of the four positions in terms of their respective degrees of reflecting either the human science or the natural science approach, and in terms of their approximation to a phenomenological psychology. It was found that syncretism characterized the approaches of the first three positions, and that there was either an absence of phenomenological psychological method in the psychologies of those positions or, in the case of MacLeod, an undeveloped and non-worked-out method. Only the work of Amedeo Giorgi presented 1) a human science approach that was radical and not compromised by natural science syncretions, and 2) an articulated phenomenological psychological method based on Husserl's concept of intentionality and on mediation of Merleau-Ponty's philosophical phenomenological method. (shrink)

The concern of this article is to establish the difference between physiognomy and expression as it may be understood phenomenologically. The work of Merleau-Ponty founds the phenomenological appreciation of physiognomy, and Gestalt psychological studies on perceptual organization elaborate the specifics of physiognomic structure despite the naturalist assumptions of that school of psychology. Physiognomy is the organized structural specification of expression in the phenomenon that presents itself. This view is an alternative to conventional topical but nonthematic considerations on physiognomy . Art (...) therapy with its use of various media is a venue in which the physiognomy of clients' art products is a display of integralness or pathology. It is an immediate access to the world of the patient. The work of the Gestalt psychologist Rudolf Arnheim and of the art therapist Mala Betensky are associated with the phenomenology of Merleau-Ponty in order to advance understanding of the significance of physiognomy in experience, in behavior, and in art therapy. (shrink)

The concern of this study is the consequences of art education information on the experiencing of a painting that has already been experienced in a condition naïve to such information. It is believed that experiential data of viewers with respect to such consequences can be accessed by way of the phenomenological approach. The phenomenological psychology and methodology that are representative of this approach are that of Amedeo P. Giorgi. The employment of Giorgi’s phenomenological psychological method in this study is in (...) the service of education and pedagogy. Giorgi’s history of research on a phenomenological psychology and the method specific to it goes back a number of decades. Four major presentations by Giorgi are the sources for designing the study here in the use of his method. Giorgi’s book is the major source for the understanding of his development and use of the method. (shrink)