Pub Date : 2023-01-01DOI: 10.5840/studphaen20232316
Petr Prášek
While correctly emphasizing that the idea of theological inspiration in phenomenology and vice versa might be very fecund, the current discussion on the theological turn does not always affirm that Janicaud was simply wrong as regards the characterization of new French phenomenology. This is why it is necessary to create a more balanced image of the discussions on the theological turn and contemporary phenomenology. The paper achieves this aim 1) by demonstrating that there was no theological turn in French phenomenology; 2) by analysing the true nature of the turn taking place in phenomenology. It concludes by affirming that contemporary French phenomenology—freed from the label “theological turn”—is a living branch of philosophy capable of contributing to the solution of some of the burning issues of today’s world, such as ecological crisis.
{"title":"A Theological Turn in Phenomenology?","authors":"Petr Prášek","doi":"10.5840/studphaen20232316","DOIUrl":"https://doi.org/10.5840/studphaen20232316","url":null,"abstract":"While correctly emphasizing that the idea of theological inspiration in phenomenology and vice versa might be very fecund, the current discussion on the theological turn does not always affirm that Janicaud was simply wrong as regards the characterization of new French phenomenology. This is why it is necessary to create a more balanced image of the discussions on the theological turn and contemporary phenomenology. The paper achieves this aim 1) by demonstrating that there was no theological turn in French phenomenology; 2) by analysing the true nature of the turn taking place in phenomenology. It concludes by affirming that contemporary French phenomenology—freed from the label “theological turn”—is a living branch of philosophy capable of contributing to the solution of some of the burning issues of today’s world, such as ecological crisis.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen2023237
Shawn Loht
This article examines selected texts in which Martin Heidegger thematizes the ontology of images, in order to adduce a view of how he understands their merits and limitations. I am primarily interested in the images seen in art works, especially those in film and photography, given Heidegger’s strong criticism of the latter alongside other 20th-century communicative media. The goal of the article is not to determine what is Heidegger’s central or overall position regarding images, as it is not clear that he has such a position. Rather, the goal is to analyze how his various statements on images, as well as imagination, fit together. I contrast Heidegger’s critical views in “The Age of the World Picture” with other texts in which he describes images more favorably. I also devote some space to texts in which Heidegger treats imagination and the origin of images more broadly.
{"title":"Not All Picturing is Picturing","authors":"Shawn Loht","doi":"10.5840/studphaen2023237","DOIUrl":"https://doi.org/10.5840/studphaen2023237","url":null,"abstract":"This article examines selected texts in which Martin Heidegger thematizes the ontology of images, in order to adduce a view of how he understands their merits and limitations. I am primarily interested in the images seen in art works, especially those in film and photography, given Heidegger’s strong criticism of the latter alongside other 20th-century communicative media. The goal of the article is not to determine what is Heidegger’s central or overall position regarding images, as it is not clear that he has such a position. Rather, the goal is to analyze how his various statements on images, as well as imagination, fit together. I contrast Heidegger’s critical views in “The Age of the World Picture” with other texts in which he describes images more favorably. I also devote some space to texts in which Heidegger treats imagination and the origin of images more broadly.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen2023239
Huaiyuan Zhang
Since Narcissus sees himself seeing himself, i.e., comes to self-consciousness and plunges into self-destruction under the gaze, thinkers have problematized the Delphic maxim of “knowing thyself” from a visual perspective. In this trend, psychoanalysis joins the self-criticism of phenomenology in subverting the “myth” of the self-reflective consciousness. Whereas Lacan relegates the mirror stage to the Imaginary and interprets the gaze as objet a to account for the split in the subject, Merleau-Ponty overcomes the narcissistic enclosure of the tacit cogito by appealing to the self’s abandonment to the gaze of the other in an open-circuit of the reversible flesh. Through the lens of the topological concept of parallax, this study illuminates the fundamental distinctions between these two perspectives and proposes a promising future of psychoanalytic phenomenology.
{"title":"The Parallax View between Merleau-Ponty and Lacan","authors":"Huaiyuan Zhang","doi":"10.5840/studphaen2023239","DOIUrl":"https://doi.org/10.5840/studphaen2023239","url":null,"abstract":"Since Narcissus sees himself seeing himself, i.e., comes to self-consciousness and plunges into self-destruction under the gaze, thinkers have problematized the Delphic maxim of “knowing thyself” from a visual perspective. In this trend, psychoanalysis joins the self-criticism of phenomenology in subverting the “myth” of the self-reflective consciousness. Whereas Lacan relegates the mirror stage to the Imaginary and interprets the gaze as objet a to account for the split in the subject, Merleau-Ponty overcomes the narcissistic enclosure of the tacit cogito by appealing to the self’s abandonment to the gaze of the other in an open-circuit of the reversible flesh. Through the lens of the topological concept of parallax, this study illuminates the fundamental distinctions between these two perspectives and proposes a promising future of psychoanalytic phenomenology.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen2023233
Lorenzo Biagini
This article aims to investigate the nature and role of linguistic “images” in Husserl’s philosophy. At first, I will explain the idea of rigorous language emerging in relevant pages of Ideas I as well as the challenges that linguistic “images” pose to it. I will then examine the nature of linguistic “images,” relying on the reflections collected in Husserliana XXIII to show their nature of intuitive-imaginative syntheses. Finally, I will focus on the role that such “images” play in phenomenologizing. Taking decisive cues from Fink and Adorno, I will show the figurative essence of Husserl’s operative concepts and the productivity of “conceptual constellations” in phenomenology. The main contention of this article is that the rigor of phenomenological language essentially relies on a peculiar imaginative experience.
{"title":"Figurative Speech as Phenomenological Problem","authors":"Lorenzo Biagini","doi":"10.5840/studphaen2023233","DOIUrl":"https://doi.org/10.5840/studphaen2023233","url":null,"abstract":"This article aims to investigate the nature and role of linguistic “images” in Husserl’s philosophy. At first, I will explain the idea of rigorous language emerging in relevant pages of Ideas I as well as the challenges that linguistic “images” pose to it. I will then examine the nature of linguistic “images,” relying on the reflections collected in Husserliana XXIII to show their nature of intuitive-imaginative syntheses. Finally, I will focus on the role that such “images” play in phenomenologizing. Taking decisive cues from Fink and Adorno, I will show the figurative essence of Husserl’s operative concepts and the productivity of “conceptual constellations” in phenomenology. The main contention of this article is that the rigor of phenomenological language essentially relies on a peculiar imaginative experience.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"280 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen2023235
Witold Płotka
The article explores two phenomenologies of image consciousness that were formulated by Ingarden and Blaustein, both of whom were students of Husserl. Both philosophers analyze image consciousness in the context of the phenomenon of contemplating a painting. The article is divided into seven sections. Section 1 presents the historical background of Blaustein’s and Ingarden’s explorations. In Section 2, Ingarden’s description of a painting as different from an image is reconstructed. In Section 3, Ingarden’s analysis of Husserl’s image consciousness is discussed. Section 4 concerns Blaustein’s theory of intentionality, which was formulated in a critical elaboration of Husserl’s philosophy. Section 5 discusses the detailed components of Blaustein’s theory of intentionality, i.e., his theory of psychic representations. This theory is then used in Section 6 in an analysis of Blaustein’s reading of § 111 of Husserl’s Ideas I. Section 7 summarizes both theories in order to draw parallels and differences between Ingarden and Blaustein. In this regard, it is argued that both philosophers refer to different theoretical contexts when discussing Husserl’s idea of image consciousness.
{"title":"Ingarden and Blaustein on Image Consciousness","authors":"Witold Płotka","doi":"10.5840/studphaen2023235","DOIUrl":"https://doi.org/10.5840/studphaen2023235","url":null,"abstract":"The article explores two phenomenologies of image consciousness that were formulated by Ingarden and Blaustein, both of whom were students of Husserl. Both philosophers analyze image consciousness in the context of the phenomenon of contemplating a painting. The article is divided into seven sections. Section 1 presents the historical background of Blaustein’s and Ingarden’s explorations. In Section 2, Ingarden’s description of a painting as different from an image is reconstructed. In Section 3, Ingarden’s analysis of Husserl’s image consciousness is discussed. Section 4 concerns Blaustein’s theory of intentionality, which was formulated in a critical elaboration of Husserl’s philosophy. Section 5 discusses the detailed components of Blaustein’s theory of intentionality, i.e., his theory of psychic representations. This theory is then used in Section 6 in an analysis of Blaustein’s reading of § 111 of Husserl’s Ideas I. Section 7 summarizes both theories in order to draw parallels and differences between Ingarden and Blaustein. In this regard, it is argued that both philosophers refer to different theoretical contexts when discussing Husserl’s idea of image consciousness.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen20232315
Michel Dalissier
What does the imperceptible mean? Is not such a question unavoidable for Maurice Merleau-Ponty, who is an illustrious thinker of perception? In this paper, I demonstrate that the French philosopher, in his published texts and unpublished manuscripts, provides an insightful reflection regarding the phenomenon of imperceptibility, which permeates some main domains of his thought. I underscore that his approach is articulated on two intimately related concepts, namely the imperceptible and the imperception. I start by unveiling Merleau-Ponty’s archetypal refusal of two extreme philosophical positions that conceive of the imperceptible, on the one hand, as a purely factitious or factual entity, and, on the other hand, as a radical and absolute reality. This approach leads me to discuss Merleau-Ponty’s keynote conception, namely an imperceptibility that appears paradoxically at work for perception. I show that such an interdependence between imperception and perception typically takes for him the form of a specific chiasm, of which I scrutinize several notable expressions. Lastly, I address Merleau-Ponty’s insightful sketch of an even further sophisticated theory, wherein imperception would be eventually reintegrated within perception itself.
{"title":"L’imperceptible – Merleau-Ponty","authors":"Michel Dalissier","doi":"10.5840/studphaen20232315","DOIUrl":"https://doi.org/10.5840/studphaen20232315","url":null,"abstract":"What does the imperceptible mean? Is not such a question unavoidable for Maurice Merleau-Ponty, who is an illustrious thinker of perception? In this paper, I demonstrate that the French philosopher, in his published texts and unpublished manuscripts, provides an insightful reflection regarding the phenomenon of imperceptibility, which permeates some main domains of his thought. I underscore that his approach is articulated on two intimately related concepts, namely the imperceptible and the imperception. I start by unveiling Merleau-Ponty’s archetypal refusal of two extreme philosophical positions that conceive of the imperceptible, on the one hand, as a purely factitious or factual entity, and, on the other hand, as a radical and absolute reality. This approach leads me to discuss Merleau-Ponty’s keynote conception, namely an imperceptibility that appears paradoxically at work for perception. I show that such an interdependence between imperception and perception typically takes for him the form of a specific chiasm, of which I scrutinize several notable expressions. Lastly, I address Merleau-Ponty’s insightful sketch of an even further sophisticated theory, wherein imperception would be eventually reintegrated within perception itself.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen2023234
Irene Breuer
This article inquires firstly into the descriptive and affective function of images as examples and exemplars in both Cassirer’s and Husserl’s conceptions of perception and aesthetics in order to disclose their respective relationship to reality, that is, mimesis. In view of the correlation between symbolic comportment and symbolic forms at Cassirer, it will secondly show that the ensuing hermeneutical circle can be overcome by taking recourse on Husserl’s genetic analyses on passive sense constitution. It will thus set the basis for a “hermeneutics of expression” that should, thirdly, shed light on the possibility of establishing an aesthetical knowledge. For this purpose, it will disclose an excess of sensuous expression that is determined by a pre-categorial limit-concept within the process of sense-formation. This inquiry shows that, while images as examples are characterized by their ideal arbitrariness, aesthetic images as singular and categorially determined exemplars can be understood as the affective expression of reality.
{"title":"Cassirer und Husserl","authors":"Irene Breuer","doi":"10.5840/studphaen2023234","DOIUrl":"https://doi.org/10.5840/studphaen2023234","url":null,"abstract":"This article inquires firstly into the descriptive and affective function of images as examples and exemplars in both Cassirer’s and Husserl’s conceptions of perception and aesthetics in order to disclose their respective relationship to reality, that is, mimesis. In view of the correlation between symbolic comportment and symbolic forms at Cassirer, it will secondly show that the ensuing hermeneutical circle can be overcome by taking recourse on Husserl’s genetic analyses on passive sense constitution. It will thus set the basis for a “hermeneutics of expression” that should, thirdly, shed light on the possibility of establishing an aesthetical knowledge. For this purpose, it will disclose an excess of sensuous expression that is determined by a pre-categorial limit-concept within the process of sense-formation. This inquiry shows that, while images as examples are characterized by their ideal arbitrariness, aesthetic images as singular and categorially determined exemplars can be understood as the affective expression of reality.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"2015 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.5840/studphaen20232317
Elizabeth A. Behnke
Two recent works in phenomenology of space address unusual themes. Ballanfat’s L’espace vide is concerned with a primal spatialization yielding an Open that is irreducible to a three-dimensional container for objects, while DuFour’s Husserl and Spatiality describes a layered space of ritual whose sensuous immediacy is infused with intercorporeal, interaffective, intergenerational, and geo-historical moments. Both books demonstrate that the phenomenological tradition can deal with complex topics and unfamiliar styles of experience, and both indicate the ethical import of their findings.
{"title":"A Tale of Two Spaces","authors":"Elizabeth A. Behnke","doi":"10.5840/studphaen20232317","DOIUrl":"https://doi.org/10.5840/studphaen20232317","url":null,"abstract":"Two recent works in phenomenology of space address unusual themes. Ballanfat’s L’espace vide is concerned with a primal spatialization yielding an Open that is irreducible to a three-dimensional container for objects, while DuFour’s Husserl and Spatiality describes a layered space of ritual whose sensuous immediacy is infused with intercorporeal, interaffective, intergenerational, and geo-historical moments. Both books demonstrate that the phenomenological tradition can deal with complex topics and unfamiliar styles of experience, and both indicate the ethical import of their findings.","PeriodicalId":42801,"journal":{"name":"Studia Phaenomenologica","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135748658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：