Husserl: Phenomenology, Misc

In searching for the origin of Europe and the cultural region/continent that we call “Europe”, at first glance we have to consider at least a double view: on the one hand the geographical understanding which indicates a region or a continent. On the other a certain form of identity and culture described and defined as European. Rodolphe Gasché taking hint from Husserl’s passage ‘Europe is not to be construed simply as a geographical and political entity’ states that a rigorous engagement (...) with what we understand by “Europe” requires that we acknowledge it as involving ‘something else as well’. With regard to the many bequests of Europe, founded in ancient Greece, in this essay I will attempt to elucidate some essential features of its cultural identity such as science and philosophy, and reflect upon several specific aspects: on the origin of Europe, on its roots and heritage, on the concept of culture, and especially on the foundation of sciences (Geometry), which contains a large part of European spirit and civilization. In particular I will address some European historical moments with reference to Husserl, Heidegger, the concept of Thaumazein… In the second part of the essay, I will shift my interest to Ancient Greece in order to access to the value of the Esprit de géométrie as defined in Proclus on the Commentary on the First Book of Euclid’s. (shrink)

生とは一体何か。また生はどのように現れるのか。それは、現象学において生活（としての）世界（Lebenswelt）として現れる。だが、フッサールが試みる生活世界の存在論は、狭義の生の現象学ではない。加え て、彼は生活世界を自我の超越論的生から理解する。この問題を解決するには、ハイデッガー、M.アンリ、レヴィナスによる様々な生の現象学があるが、それに対して徹底的な反論がある。生の現象学を凌駕するには、メ ルロ＝ポンティと共に、生きることの形而上学を取り上げる必要がある。それは、意識の様々な「段階」（驚き及び認識）、「豊かな矛盾」、「フェール（なす、作る、・・・させる）」（faire）等といった概念を通 じて可能になる。.

This study is aiming at analyzing extemporaneous methods of instructional speech in the context of the Naqshbandi Sufi Order and its parallels with improvised music as well as potential for modern educational purposes. Focusing on a processual analysis covering the flow of events in the communication and its environment, the work is using approaches applied in performance studies as well as improvised music, as well as cognitive science and psychological perspectives concerned with the mechanisms of the subconsciousness. Field research data (...) collected at the Naqshbandi lodge in Lefke/Cyprus as well as a considerable amount of recorded speech acts serve as material for the conducted qualitative content analysis. (shrink)

This chapter is particularly concerned with the status of history, dance history especially, within Dance Studies. It asks what has befallen the more recent status of history, once an epistemological support at a critical stage in Dance Studies’s early development, now that Dance Studies is better established, relatively speaking, within the academy. Is history so much scaffolding which, having fulfilled its purpose in enabling the disciplinary plant to take root, is to be dismantled and, if not actually discarded, at least (...) demoted? Three factors will be identified and proposed as having particular significance in this connection, imbuing this chapter with a tri-partite structure. The first concerns the already noted strong imprint of Cultural Studies on Dance Studies and the possible bearing of this imprint on dance history’s status within Dance Studies. For the particular manner in which Dance Studies has construed Cultural Studies may, this chapter will suggest, have impacted upon dance history’s standing within communities of dance scholarship. The second factor has to do with the implications, for dance history, of a particular critique based in a branch of dance scholarship, that perceives phenomenology, which it deems a good fit for dance inquiry, as inherently antithetical to history. In particular, this critique takes the work of Michel Foucault - which it identifies closely with, and as, historical practice - as incompatible with dance enquiry. Incompatibility is staked on the twin grounds of Foucault’s break with, and supposed resulting and enduring antipathy towards, phenomenology; and his perceived embrace of history which is, itself, also understood to result from such a break. In effect, then, this critique questions the very suitability, for dance research, of approaches based in history-focussed inquiry. The ability to call this critique into question, in the ways that the present discussion, in seeking to rehabilitate Foucault, and so history, needs to demonstrate, constitutes the third factor. This final factor makes two particular, further demands of this chapter. Namely that the interrelated questions of Foucault, phenomenology, and dance; and of the position which phenomenology has itself adopted in relation to history, be re-visited and re-evaluated to the extent that space reasonably allows. Fortunately, these interrelated questions are ones which have - relatively recently - preoccupied scholarship on Foucault, and on phenomenology, respectively. This preoccupation may in and of itself be one possible indicator that there is indeed more at stake, and so to consider, regarding both questions, than the lines drawn by the aforementioned critique might suggest. (shrink)

Ueda writes in his Reading Nishida Kitarō (Nishida Kitarō o yomu) that to compare Heidegger’s entire thinking up to his last period with Nishida’s thought also up to his last period, including their multiple turns, would be “one of the most valuable paths to investigating the significance, potential, and problematics of Nishidian philosophy.” In this paper I examine the philosophy of Ueda Shizuteru through the juxtaposition of those two thinkers, of West and of East, who prove to be significant for (...) the creative unfolding of his thought: Martin Heidegger who had inspired much of phenomenology and Continental philosophy, and Nishida Kitarō who had inspired the development of Kyoto School philosophy and much of contemporary Japanese philosophy. The Heideggerian and Nishidian streams of thought, in their “placial turns”—Nishida’s “logic of place” and Heidegger’s “topology of beyng”—meet in Ueda as he reads each in light of the other’s terminology and concepts. Through his readings and appropriations that underscore their commonalities and differences, Ueda thus develops a compelling philosophy of place, world, and horizon, a thinking of being-in-the-twofold-world. The chapter thus examines the meeting of Nishida and Heidegger in Ueda. (shrink)

This paper presents philosophical conditions for the foundation of a specifically Husserlian aesthetic. Therefore, will be at first considered philosophical equivalences of two modalities of conscious experience: phenomenological and aesthetic. Thereafter, we highlight some of the concepts that guide Husserlian phenomenology as perception, intuitive experience, imagination and image consciousness. We present a conceptual approach of phenomenological experience as an experience of immediate awareness that has in perception the privileged path to access data originating from intentional objects. Aesthetics experience as a (...) specific type of perception and loss, becomes a modality of phenomenological experience, insofar as it integrates, in itself, the same subject and object in a relationship properly intentional experience, functioning as a perfect paradigm of phenomenological perception opposed to naturalized experience model. Both aesthetics and phenomenology make it possible to centralize conscious experience in relation to world-consciousness, much more than the objective characterization of the world or any purely psychological facts. In both philosophical fields, imagination has a prominent status. (shrink)

La estética fenomenológica debería ser capaz de revelar cómo la estructura de cualquier objeto estético dado está conectada con la experiencia de ese objeto, así como demostrar las condiciones necesarias para la propia experiencia estética. Para hacerlo, hay que argumentar en contra de los supuestos unilaterales, como por ejemplo la suposición del objetivismo estético que postula la belleza como rasgo exclusivo de la realidad independiente del sujeto; o la creencia opuesta, que la belleza es esencial y únicamente la proyección del (...) gusto subjetivo sobre las cosas en el mundo. Sesemann analiza el objeto estético y el acto estético, enfatizando su conexión. Esta conexión se refiere a lo que se describe en la fenomenología de Husserl como la correlación entre el objeto intencional y el acto intencional. Esta conexión puede ser descubierta sólo mediante el método fenomenológico: realizando la reducción fenomenológica. En este documento se explicará en primer lugar la percepción estética en la estética de Sesemann. Más adelante, se examina la concepción de la estructura del objeto estético en el contexto de la estética de Sesemann: la composición de los elementos, las sensaciones en relación con el significado, etc. Por último, el artículo sugiere que la estética de Sesemann se basa fundamentalmente en el método de la reducción fenomenológica.Phenomenological aesthetics should also be able to show how the structure of any given aesthetic object is connected with the experience of that object, as well as to demonstrate the necessary conditions for the aesthetic experience itself. In order to do so, one must argue against one-sided assumptions, such as the aesthetic objectivism’s supposition that beauty is exclusively the trait of reality not at all dependent on the subject’s experience of it; or its opposite belief that beauty is essentially and solely the projection of the subjective taste onto the things in the world. Sesemann analizes the aesthetic object and aesthetic act by emphasizing their connection. This connection relates to what is described in Husserls phenomenology as the correlation between the intentional object and the intentional act. This connection can be discovered only by using the phenomenological method: by doing phenomenological reduction. This paper will first explain the aesthetic perception in Sesemann‘s aesthetics. Later, it examine the conception of the aesthetic object‘s structure in Sesemann‘s aesthetic: composition of elements, sensations in connection with meaning; etc. Finally, the paper will argue that Sesemann‘s aesthetics is essentially based on the method of phenomenological reduction. (shrink)

Summary I outline an approach to the phenomenology of improvised music which takes typification and the development of multi‐ordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment and Brudzińska as guide. I provide a phenomenological analysis of musical types as they are found in improvisational contexts, focusing on jazz in the 20th century. Styles are higher‐order musical types. Musical types are structures that are temporally (...) “thick,” relying on sedimented typification and knowledge, driving expectations as definitional. In most forms of music, musical styles involve maintaining a balance between confirming expectations and flouting expectations. I show that improvised music has a phenomenal structure which is enriched by the communicative and “ real‐time” nature of improvised music. Improvised music can be seen as an exploration of a possibility space rendered by the juxtaposition of the musical types afforded by a performance environment. I show that improvisation in music is a multi‐vectoral form of communication. The communication is founded in what Dieter Lohmar calls “non‐linguistic thinking.” The expression is constituted in the results of active and synthesis. The culmination of improvisational exploration of possibility spaces is the precisification and enrichment of styles‐as‐types, while in some cases developing new styles in the process. (shrink)

In my review I argue that this book is more than just a history of the way in which Husserl’s work was studied and taught in the United States and Canada from the early XXth Century on since it shows that what started as a “reception” soon became a local interpretation and appropriation of the phenomenological perspective which ended up blossoming as an autochthonous movement with its own concerns, issues, and schools. The book clearly shows the different phases in the (...) development of the phenomenological movement in North America, the numerous institutions participating in it, and the variety of local perspectives. (shrink)

As the title – Husserl’s Legacy – and subtitle – Phenomenology, Metaphysics, and Transcendental Philosophy – make clear, Dan Zahavi’s new book is centrally concerned with developing and defending a particular account of Husserl’s legacy. Rather than tracing lines of influence or measuring the impact of various of Husserl’s ideas, Zahavi is interested in Husserl’s legacy in a different and more demanding sense that pertains to what he refers to as ‘the overarching aims and ambitions of Husserlian phenomenology’. He is (...) interested in the continued significance and relevance of Husserl’s philosophy as a comprehensive philosophical system that accordingly stakes out a position on fundamental questions concerning the mind, experience, and the nature of reality; hence the subtitle’s trio of phenomenology, metaphysics, and transcendental philosophy. The legacy that concerns Zahavi lies here, with how the first two notions find their completion in the third: properly understood, Husserl’s transcendental philosophy, which offers a phenomenological form of transcendental idealism, offers a powerful philosophical vision that is directly relevant to contemporary philosophical concerns.1 1 Thus Zahavi is interested in Husserl as a systematic philosopher, whose system is not just of historical interest, a relic from our philosophical past; in keeping with the notion of a legacy, Husserl’s philosophy is something whose inheritance might profit us here and now. (shrink)

The present research contributes to the elucidation of an important aspect of Husserl’s interpretation of the history of philosophy, that is, his reading of the beginning of Western thought. In par...

This essay presents a historiographical analysis of how Husserlian Phenomenology arrived and developed in North America. The paper focuses on authors and universities that played a fundamental role in promoting Husserlian Phenomenology. Starting from the analysis of how the first American Scholars of Edmund Husserl's thought opened the door to the reception of his texts, the analysis explains the first encounters between Pragmatism and Husserlian Phenomenology in American Universities, and then illustrates about those Scholars who fled from Europe to America, (...) from 1933 onwards, to escape Nazism – Felix Kaufmann, Alfred Schutz, Aron Gurwitsch, Herbert Spiegelberg, among the most notable – by explaining how their teaching provided the very basis for the spreading of Husserlian Phenomenology in North America. The action of the 20th Century North-American Husserl Scholars involves places, societies, centers, and journals, specifically created to represent the development of the studies devoted to Husserlian Phenomenology in North America. (shrink)

According to Husserl’s phenomenology, the intentional horizon is a general structure of experience. However, its characterisation beyond perceptual experience has not been explored yet. This paper aims, first, to fill this gap by arguing that there is a viable notion of cognitive horizon that presents features that are analogous to features of the perceptual horizon. Secondly, it proposes to characterise a specific structure of the cognitive horizon—that which presents possibilities for action—as a cognitive affordance. Cognitive affordances present cognitive elements as (...) opportunities for mental action (i.e., a problem affording trying to solve it, a thought affording calculating, an idea affording reflection). Thirdly, it argues that postulating cognitive affordances helps to unfold a rational dimension of thinking by conceiving of them as motivating reasons for action, something that in turn provides an argument for the experienced character of cognitive affordances. (shrink)

During his period of exile in Scandinavia, Bertolt Brecht wrote “I don’t think the traditional form of theatre means anything any longer. Its significance is purely historic; it can illuminate the way in which earlier ages regarded human relationships […] [but] a modern spectator can’t learn anything from them”. To create a modern theatre fit for a modern audience, Brecht holds that not only would the content of plays have to change, but the experience of theatrical spectatorship itself. To fully (...) capture how Brecht’s work differs from that of previous playwrights, a close analysis of spectatorial experience and perception is required. In this paper, I compare the aesthetic techniques used in Brecht’s epic theatre to the genetic phenomenology of Edmund Husserl. Reading Brecht’s Verfremdungseffekt through a Husserlian lens, I argue that Brecht mobilizes phenomenological methodology in order to suspend the audience’s preconceived notions of theatre and to cultivate self-conscious, critically aware, and socially motivated spectatorship. Just as Husserl describes phenomenology as a presuppositionless science, so too does Brecht offer epic theatre as a way to free “[…] socially-conditioned phenomena from the stamp of familiarity”. (shrink)

In this paper I draw attention to a little-known confrontation between Sidney Hook and Dorion Cairns that unfolded on the pages of The Journal of Philosophy in 1930. Hook published “A Personal Impression of Contemporary German Philosophy” following a brief stint studying in Germany. Hook initially identifies the phenomenological movement as one of the few high points of early 20th century German philosophy. However, Cairns found fault with almost every characterization that Hook gave of Husserl’s phenomenology. My aim here is (...) to discuss the claims about the aims and method of phenomenology we find in Hook’s original appraisal and which are amplified and developed into criticisms of Husserl in his subsequent reviews of Formal and Transcendental Logic and Ideas I. Unfortunately, many of these criticisms, which Cairns considered to be based on misconceptions and misunderstandings, persist among Anglo-American philosophers today. Despite Cairns’ attempt to defend Husserl, Hook maintained that Cairns did not adequately address the argument that Husserl’s logical realism and transcendental idealism are incompatible. Moreover, Hook argues that Husserl’s idealism leads to solipsism. (shrink)

In this paper, I enquire into the nature of the influence culture has on the experience of trauma. I begin with a brief elaboration of the dominant conceptualisation of post-traumatic experiences: the diagnostic category of PTSD as it can be found in the DSM. Then, I scrutinise the nature and extent to which cultural factors may influence the phenomenology of the experience of certain events as traumatic and subsequent symptoms of post-traumatic stress. It seems that cultural circumstances alter the way (...) in which trauma is experienced; it is not clear whether there is in fact a core pathology of PTSD, as the DSM assumes, or whether the structure of the experience of trauma is too multifaceted to be summarised in one diagnostic category. Finally, I show that phenomenological enquiry promises to identify the structural similarities that would justify the delineation of a distinct diagnostic category. (shrink)

This article examines the particular aesthetic experience brought about by soundwalks. In each case, the point of departure is the phenomenological analysis of two case study: Janet Cardiff’s Walks and the audio-tours Remote x by Rimini Protokoll. Drawing upon Husserl and Merleau-Ponty, I will examine the conflicts of perception and the peculiar shift from one order of perception to another that punctuate the spectator’s walking, as well as the intertwining of the real and the imaginary coming into being in such (...) performances and experienced at the very level of his bodily inscription in space. More specifically, my aim is to address the challenge that the aesthetic experience here in question sets to Husserl’s phenomenology of perception and to show how the extension of the notion of perception achieved by Merleau-Ponty makes it possible to overcome the paradox. (shrink)

I endeavor to explore Farber’s work leading into the Foundation in order to construct an understanding both of his idiosyncratic interpretation of Husserl, and of what lead to Farber’s break with phenomenology. A great irony of Farber’s career may turn out to be that a scholar so deeply bothered by presuppositions and so committed a methodological pluralist may have discarded phenomenology because of his own philosophical commitments, a fact noted by Farber’s former student, Sang-Ki Kim. In an essay in Farber’s (...) memory, Kim questions whether Farber himself was subject to the limitations and prejudices inherent in his commitments to scientific Marxism and naturalism. Farber’s pervasive interests in naturalism are likely influenced, in part, by consideration for the cancer research of his brother, Sidney. This work will first examine Farber’s attitudes towards metaphysics and naturalism. Second, it will turn to an examination of his interests in logic – which largely prompted his interests in phenomenology. Farber’s methodological pluralism is driven in part by his understanding of logic and in part his other interests. Further disagreements with Husserl will be reappraised in the concluding section of the essay. (shrink)

Edmund Husserl, generally regarded as the founding figure of phenomenology, exerted an enormous influence on the course of twentieth and twenty-first century philosophy. This volume collects and translates essays written by important German-speaking commentators on Husserl, ranging from his contemporaries to scholars of today, to make available in English some of the best commentary on Husserl and the phenomenological project. The essays focus on three problematics within phenomenology: the nature and method of phenomenology; intentionality, with its attendant issues of temporality (...) and subjectivity; and intersubjectivity and culture. Several essays also deal with Martin Heidegger's phenomenology, although in a manner that reveals not only Heidegger's differences with Husserl but also his reliance on and indebtedness to Husserl's phenomenology. Taken together, the book shows the continuing influence of Husserl's thought, demonstrating how such subsequent developments as existentialism, hermeneutics, and deconstruction were defined in part by how they assimilated and departed from Husserlian insights. The course of what has come to be called continental philosophy cannot be described without reference to this assimilation and departure, and among the many successor approaches phenomenology remains a viable avenue for contemporary thought. In addition, problems addressed by Husserl--most notably, intentionality, consciousness, the emotions, and ethics--are of central concern in contemporary non-phenomenological philosophy, and many contemporary thinkers have turned to Husserl for guidance. The essays demonstrate how significant Husserl remains to contemporary philosophy across several traditions and several generations. The volume includes essays by Rudolf Bernet, Klaus Held, Ludwig Landgrebe, Dieter Lohmar, Verena Mayer and Christopher Erhard, Ullrich Melle, Karl Mertens, Ernst Wolfgang Orth, Jan Patočka, Sonja Rinofner-Kreidl, Karl Schuhmann, and Elisabeth Ströker. (shrink)

The chapter exposes an accurate analysis of the steps that brought to the presence, in North America, of archives dedicated to the writings of Edmund Husserl. The account runs from an early project for a first center in Buffalo, to the birth of centers dedicated to Phenomenology. The first surviving United States of America branch of the Husserl Archives in Leuven was created at the New School for Social Research, while in the mid-1980s a second collection center of copies of (...) the transcriptions of Husserl’s manuscripts – the Simon Silverman Phenomenology Center – was created at Duquesne University. In specific, this chapter restitutes the history of the creation of the “Husserl Archives Established in Memory of Alfred Schutz” at the New School for Social Research in New York. (shrink)

This book presents a historiographical and theorical analysis of how Husserlian Phenomenology arrived and developed in North America. The chapters analyze the different phases of the reception of Edmund Husserl’s thought in the USA and Canada. The volume discusses the authors and universities that played a fundamental role in promoting Husserlian Phenomenology and clarifies their connection with American Philosophy, Pragmatism, and with Analytic Philosophy. Starting from the analysis of how the first American Scholars of Edmund Husserl's thought opened the door (...) to the reception of his texts, the book explores the first encounters between Pragmatism and Husserlian Phenomenology in American Universities. The study focuses, then, on those Scholars who fled from Europe to America, from 1933 onwards, to escape Nazism - Felix Kaufmann, Alfred Schutz, Aron Gurwitsch, Herbert Spiegelberg, Fritz Kaufmann, among the most notable - and illustrates how their teaching provided the very basis for the spreading of Husserlian Phenomenology in North America. The volume examines, then, the action of the 20th Century North-American Husserl Scholars, together with those places, societies, centers, and journals, specifically created to represent the development of the studies devoted to Husserlian Phenomenology in the U.S., with a focus of the Regional Phenomenological Schools. (shrink)

Empathy is a term used to denote our experience of connecting or feeling with an Other. The term has been used both by psychologists and phenomenologists as a supplement for our biological capacity to understand an Other. In this paper I would like to challenge the possibility of such empathy. If empathy is employed to mean that we know another person’s feelings, then I argue that this is impossible. I argue that there is an equivocation in the use of the (...) term ‘empathy’ which conditions the appropriation of the Other as we think that we know how the Other feels. To claim that we do know an Other’s feelings – or any kind of their intentional experience – means to appropriate their experience through our own. I will first reveal the equivocal use of the term ‘empathy’ and, then, I will explore Husserl’s use of the term. In Husserl, the understanding of an Other as empathy is only partial. I shall conclude by reiterating a thesis from philosophy of existence and feminist theory according to which to know another person comes from creating a community with them and not because we have a biological structure that can mirror each other’s feelings. (shrink)

In this paper I discuss some significant aspects of Husserl’s phenomenology which could not be adequately known without studying the manuscripts, unpublished during his lifetime and then published gradually since 1950 by Husserl Archives in Leuven founded by Father van Breda in 1939. The aspects I discuss here are listed under 6 subjects: Husserl’s phenomenological analyses of the constituting corporeal subjectivity, Husserl’s phenomenological analysis of the conditions of possibility of representifications, concept of I-consciousness, conception of transcendental subjectivity as intersubjectivity, the (...) development of Husserl’s conception of phenomenological philosophy, and Husserl’s metaphysics. This paper is drawn from, and an extension of, a lecture given at the Catholic University of Louvain in the occasion of 80th anniversary of the foundation of the Husserl Archives. (shrink)

A recent trend in Husserl scholarship takes the Logische Untersuchungen (LU) as advancing an inconsistent and confused view of the non-conceptual content of perceptual experience. Against this, I argue that there is no inconsistency about non-conceptualism in LU. Rather, LU presents a hybrid view of the conceptual nature of perceptual experience, which can easily be misread as inconsistent, since it combines a conceptualist view of perceptual content (or matter) with a non-conceptualist view of perceptual acts. I show how this hybrid (...) view is operative in Husserl’s analyses of essentially occasional expressions and categorial intuition. And I argue that it can also be deployed in relation to Husserl’s analysis of the constitution of perceptual fullness, which allows it to avoid a objection raised by Walter Hopp—that the combination of Husserl’s analysis of perceptual fullness with conceptualism about perceptual content generates a vicious regress. (shrink)

This paper considers the historical and current reception of Husserl’s phenomenological project within the tradition of analytic philosophy, especially in the United States. Despite the fact that both Husserlian phenomenology and the analytic tradition have centrally undertaken systematic analysis and clarification of structures of meaning or sense, the project of phenomenological analysis and reflection has never been centrally or comprehensively integrated into the most characteristic projects of the analytic tradition. This resistance owes in part to the strong elements of naturalism, (...) conventionalism, reductionism, and realism characteristic of the projects of the analytic tradition. I argue that there remains little hope for a comprehensive rapprochement between Husserlian phenomenology and analytic philosophy that retains without significant distortion the most characteristic methods of both. Nevertheless, it is possible to envision a contemporary development of a phenomenologically informed “post-analytic” philosophy that would integrate phenomenological methods and ideas to supplement the analytic project just where some of its constitutive limitations are, today, becoming most evident. (shrink)

This chapter looks to a “Husserlian-influenced” phenomenology to augment our understanding of one of the most significant—and open-ended—categories of theatre to emerge in the past century: the so-called Theatre of the Absurd. Here, Jodie McNeilly-Renaudie and Pierre-Jean Renaudie examine Beckett, SamuelEndgame to make an argument that the standing definitions of “absurdityabsurdity—grounded in Martin Esslin’s genesis of the term—are incomplete. The authors here argue that a consideration Husserl, Edmund differentiation between “two possible ways for meaning to be missing” demonstrates that the (...) very essence of theatrical absurdity involves not only a loss of meaning and the distress and fragmentation that such loss invokes, but, crucially, and in equal measure, the experience of such meaninglessness in terms of human endeavour to overcome it. (shrink)

This article focuses on what is description in the images based on the mechanical technology, rooted in the XIX century, and which are nowadays used by science as a means of obtaining information. This technological aspect, within the scope of Image Theory, constitutes a fundamental dimension for the understanding of contemporary representation. In order to understand the articulation between technology and what is described through it, images in which this connection is not evident will be interrogated, trying to access core (...) elements of the notion of visual description. This articulation is anchored in a phenomenological approach, based on Husserl’s Theory of Image, in the context of a philosophy of Depiction. (shrink)

Der Beitrag beschäftigt sich mit Husserls Lehre von der kategorialen An­schauung als einem der wichtigsten Momente seines Versuchs der Grund­legung der Phänomenologie als eidetischer Wissenschaft. Ausgehend von Husserls phänomenologischen Kritik an Versuchen einer Naturalisierung des Bewusstseins, werden insbesondere die Probleme der Bedeutungs­intention und -erfüllung, des Unterschieds zwischen sinnlicher und kate­gorialer Anschauung, der kategorialen Formung und der sog. Wesens­anschauung erörtert. In diesem Zusammenhang geht es auch um die Abgrenzung des Husserlschen transzendentalphilosophischen Ansatzes von der transzendentalphilosophischen Axiomatik Immanuel Kants.

Despite their shared origins, medicine and dentistry are not always two sides of the same coin. There is a long history in medical philosophy of defining disease and various medical models have come into existence. Hitherto, little philosophical and phenomenological work has been done considering dental caries and periodontitis as examples of disease and illness. A philosophical methodology is employed to explore how we might define dental caries and periodontitis using classical medical models of disease – the naturalistic and normativist. (...) We identify shared threads and highlight how the features of these highly prevalent dental diseases prevent them fitting in either definition. The article describes phenomenology and the current thought around the phenomenology of illness, exploring how and why these dental illnesses might integrate into a phenomenological model. We discover that there are some features particular to dental caries and periodontitis: ubiquity, preventability and hyper-monitorablility. Understanding the differences that these dental diseases have compared to many other classically studied diseases leads us to ethical questions concerning how we might manage those who have symptoms and seek treatment. As dental caries and periodontitis are common, preventable and hyper-monitorable, it is suggested that these features affect the phenomenology of these illnesses. For example, if we experience dental illness when we have consciously made decisions that have led to it, do we experience them differently to those rarer illnesses that we cannot expect? Other diseases share these features are discussed. This paper highlights the central differences between the classical philosophical notion of disease in medicine and the dental examples of caries and periodontitis. It suggests that a philosophical method of conceptualising medical illness - phenomenology - should not be applied to these dental illnesses without thought. A phenomenological analysis of any dental illness is yet to be done and this paper highlights why a separate strand of phenomenology should be explored, instead of employing those that are extant. The article concludes with suggestions for further research into the nascent field of the phenomenology of dental illness and aims to act as a springboard to expose the dental sphere to this philosophical method of analysis. (shrink)

ABSTRACTThis paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion that occurs in some (...) of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible. (shrink)

Looking at different types of images, as medical images and those of computer games, they do not seem to have much in common. If there is an analytical access within the cultural sciences to these technical pictures, it is usually that of a reference. Thus, diagnostic images, for example those of the virtual coloscopy, are quickly assumed to use a computer game aesthetics. In fact, these images are similar in their structure and aesthetics, but to reduce this similarity to a (...) simple referential relationship falls too short.Both types of imaging are aiming on a human understanding. The basis for both image types are digital data, which, based on specific algorithmic revisions, are transferred into moving images. This transformative process is the execution of an anthropological claim, which is elementary to all technical pictures.With the help of a phenomenological analysis that is strongly oriented to Edmund Husserl’s phenomenology, this assumption is to be investigated and substantiated. By analysing the inner intuition of man and the given illustrativeness of the technical images, we will show, that Husserl’s concept of the experience of world is fundamental to an analytical comparative understanding of technical images. (shrink)

We survey the development of “California Phenomenology”, both as a philosophical movement originating with Dagfinn Føllesdal’s formulation of a Fregean, analytic reading of Husserl in the late 1950s and 1960s, and as an evolving network of philosophers working throughout California, who have met under the auspices of several groups in a more or less continuous way since that time. We trace the history of these groups in detail, provide an overview of debates that occurred between “West Coast” approaches to Husserlian (...) phenomenology and other approaches, and survey the broad panorama of more recent work. (shrink)

“Husserl at Harvard: The Origins of American Phenomenology” examines the first interactions between American philosophers and Edmund Husserl, describing a pattern of serious and sustained interest in the phenomenological movement centered at Harvard University during the first three decades of the twentieth century. Beginning in 1902 with W.E. Hocking, at least seven Harvard students had studied with Husserl by 1925. By examining these transatlantic exchanges systematically, this essay argues that Husserlian philosophy enjoyed a promising initial reception in the United States (...) and shows why Harvard was particularly fertile ground for Husserl’s thought. (shrink)

This article examines the philosophical work of Dallas Willard, Emeritus Professor of Philosophy at the University of Southern California. After outlining his major translations, it explores four of Willard’s central theses: that Husserl’s phenomenology of knowledge solved a fundamental puzzle about the objectivity of knowledge; that the success of Husserlian phenomenology’s account of knowledge depended upon Husserl’s ontological insights; that Husserl was already a phenomenologist when Frege was purportedly converting him from psychologism; and that Husserl maintained his early account of (...) knowledge—and thus his realism—throughout his career. Though Willard was instrumental in starting the “Early” or “Realist Phenomenology” movement in America, his philosophical contributions have yet to be fully explored. Therefore, the paper concludes with a guide to those who would like to understand and develop Willard’s work further. (shrink)

In this paper, we suggest an updated idea about the development of philosophy in the twentieth century. Its historical meaning is in the transition from metaphysics to transcendentalism, from the realistic model of the world to the postmodernist one. We demonstrate that transcendental phe-nomenology is a forerunner of structural and in-formation revolutions. It developed the catego-ries that appear speculative counter-parts of the conceptual apparatus of informationalism. The “keyword” of phenomenology is noe-ma = a thing of consciousness = a mental con-sciousness (...) thing, which is information about a thing. Transcenden-tal-cognitive modelling turns all things into num-bers. It results in a denial of humanity and their life-world by technoscience. Husserl seems to be the first ideologist and, at the same time, the first criticist of the Transmodern era. (shrink)

Este artículo afirma que la fenomenología, realización de la idea de filosofía como ciencia estricta, es la respuesta husserliana a la crisis epistemológica y ontológica que padecen la ciencia y la filosofía de su tiempo. Pero el sentido último de esta ciencia estricta fenomenológica es atender los problemas existenciales del ser humano debidos al divorcio establecido entre razón y existencia por la crisis Fin de Siècle. El proyecto fenomenológico ilustrado tiene para Husserl sobre todo un sentido práctico/existencial: fundamentar la idea (...) de Europa como ideal de una existencia humana basada en ideas de razón, con sentido. La respuesta a la crisis sólo puede ser la filosofía como ciencia estricta fundada sobre la experiencia antepredicativa del mundo de la vida en la que se nos dan las cosas mismas, ‘lo que’ son primariamente. La ciencia volverá a tener significado humano cuando se fundamente sobre ese ámbito originario de experiencia, verdadera fuente de todo sentido y categoría. (shrink)

ABSTRACTThe aim of this paper is to bring a phenomenological perspective to bear on a specific problem: how to understand the diminished sense of reality that is often reported by persons who have suffered severe and prolonged interpersonal trauma. For this purpose I turn to resources from two traditions. First, I present a phenomenological account of the intersubjective constitution of objective experience, which is then complemented by a developmental account of how the very small child comes to inhabit a world (...) of shared mind-independent things. On this basis, I aim to show how the sense of reality, as the clear and dependable sense of the difference in experience between inner life and external reality, is an interpersonal developmental achievement that goes hand in hand with the development of the sense of self. I will in particular draw on Husserlian phenomenology and Winnicott’s psychoanalytic perspective on developmental psychology. (shrink)

Through an exploration of the arts, Phenomenology and the Arts traces the relationship between phenomenology qua historical movement and qua descriptive method. Serving as an artistic undertaking, the phenomenological method itself echoes its content when describing artistic matters such as painting, drama, literature, and music. After establishing the thematics and structure of the volume, contributors analyze in rich and groundbreaking ways specifically Kant, Hegel, Husserl, Heidegger, Merleau-Ponty, and Derrida, and works of art, including select jazz composers, the visual arts of (...) Warhol and Klee, and others affect us. The book is of interest to interdisciplinary researchers engaged in the relationship between art and philosophy. (shrink)

The crisis of climate change is a difficult phenomenon to conceptualize, particularly in light of how we experience time and how our consciousness works. It is an event that spans tense in ways that are difficult to pinpoint, and it provides no past precedent to shape our future anticipations. Furthermore, climate change encounters us at a moment when time also feels compressed. This paper explores climate change and its relationship to time by assessing how theatre, with its own phenomenologically unique (...) qualities of time and experience, has portrayed these tensions. Utilizing phenomenological theories of time from Husserl and Heidegger, and drawing on philosophical and cultural theories of presentism, this paper examines how these ideas manifest in two climate change plays: Moira Buffini, Matt Charman, Penelope Skinner, and Jack Thorne’s Greenland and Stephen Emmott’s Ten Billion. In conclusion, it is argued that theatre’s own conventions of time and space allows an inescapable present to exist, in which audiences are given a phenomenological experience of climate change that is otherwise unparalleled. (shrink)

This paper focuses on the concept of symbol and tries to outline its function as a means of communication. In order to describe the communicative qualities of symbol, it is necessary to show its ethical nature. The paper analyses the role symbols play in intersubjective relations, in the construction of the individual’s reality, and in the human ability to attribute meanings and assign functions.The conceptual frame- work for the understanding of what symbol is, how it works, and how it is (...) made is a particular combination of phenomenology and pragmatism, which lies on the theory of ‘appresentation’, as we can find it in Alfred Schütz’s viewpoint. The paper invites a reflection on the power of symbol, particularly on its power to communicate the incommunicable. (shrink)

This paper clarifies the philosophical connection between Al-Ghazali and Descartes, with the goal to articulate similarities and differences in their famous journeys from doubt to certainty. As such, its primary focus is on the chain of their reasoning, starting from their conceptions of truth and doubt arguments, until their arrival at truth. Both philosophers agreed on the ambiguous character of ordinary everyday knowledge and decided to set forth in undermining its foundations. As such, most scholars tend to agree that the (...) doubt arguments used by Descartes and Al-Ghazali are similar, but identify their departures from doubt as radically different: while Descartes found his way out of doubt through the cogito and so reason, Al-Ghazali ended his philosophical journey as a Sufi in a sheer state of passivity, waiting for the truth to be revealed to him by God. This paper proves this is not the case. Under close textual scrutiny and through the use of basic Husserlian-phenomenological concepts, I show that Al-Ghazali's position was misunderstood, thus disclosing his true philosophic nature. (shrink)

The aim of this essay is to introduce an original and radical phenomenology of life into Heidegger’s earliest lectures at Freiburg University. The motivation behind this aim lies in the exclusion of life from the existential analytic despite Heidegger’s preoccupation with the question of life during this very early period. Principally, the essay demonstrates how Husserl’s phenomenological insight into the intentionality of life has the potential to be transformed into a living aporia. Although this demonstration is set within the general (...) context of obtaining knowledge in and of life, it is achieved via a reciprocal critique of the possibility of a philosophy of life and Husserlian phenomenology, and will reveal the congruence life philosophy has with the project of phenomenology. In contrast to fundamental ontology, the essay ends by exposing Heidegger’s latent and inexplicit formulation of phenomenology in terms of a radical correlation that holds aporetically between living and unliving experience. (shrink)

In recent years, some simulation theorists have claimed that the discovery of mirror neurons provides empirical support for the position that mind reading is, at some basic level, simulation. The purpose of this essay is to question that claim. I begin by providing brief context for the current mind reading debate and then developing an influential simulationist account of mind reading. I then draw on the works of Edmund Husserl and Edith Stein to develop an alternative, phenomenological account. In conclusion, (...) I offer multiple objections against simulation theory and argue that the empirical evidence mirror neurons offer us does not necessarily support the view that empathy is simulation. (shrink)

Looking at Husserl, in a pedagogical perspective phenomenologically founded, that we have to lead our gaze to the lived experience as a privileged way of formation of the thought in the territory of the cogitoregained in a transcendental sense. This passage is extremely important: phenomenologically, educating does not mean transmitting but bringing into the open the pre-categorical and pre-reflective dimension of the world of life, moving from an interested attitude to a disinterested attitude towards himself and the world in the (...) direction of an active way of seeing that doesn’t close in the singularity, but moves in the circularity between subject and object, in the reciprocity of knowledge and object of knowledge, lived experience and elaboration of thought. (shrink)

ABSTRACT“Time-consciousness” constitutes the core of Edmund Husserl’s phenomenology. Extending from a project of reviving the comparative method, we develop Husserl’s phenomenological analysis of time as a method of literary comparison. Three views of time set the stage: the quatrain “Luán’s Fall” by the eighth-century Chinese poet Wang Wei, a stanza from the poem “Etched off‌” by Paul Celan, the quintessential post-war poet in German language, and the haiku “Walking, on and on” by the Japanese itinerant monk and free-verse haiku pioneer (...) Santoka Taneda. What makes these poems relevant is not merely their superficially shared theme of time, but an intrinsic affinity, manifested in different poetic “time-objects”, to the very notion of time-consciousness. Through poetic analysis in the context of Husserl’s philosophy of time-consciousness, these poetic experiences, embodied in a phenomenological concept of “walking,” emphasize time as being. (shrink)

Faire de la métaphysique, après tant de réductions et de tournants ? Au fondement des sciences humaines, au cœur du bergsonisme, aux frontières de la phénoménologie, au détour de l’ontologie, en quel sens est-elle vivante et vitale ? Ces questions, Maurice Merleau-Ponty les inscrit au sein d’un projet grandiose, aussi revendiqué que pratiqué souterrainement, aussi conceptuellement florissant qu’inachevé. Ce projet, nous avons voulu le parcourir ici, dans sa profondeur démesurée. Se nourrissant des ressources notionnelles de sa recherche, investissant ses domaines (...) d’éclosion, de la perception à la réflexion, de la nature à la religion, du langage à l’art, la métaphysique de Merleau-Ponty permet de tenter une lecture intégrale de sa philosophie. -/- La neige étincelait de tant d’étoiles qu’on ne songeait point à regarder le ciel où les vraies étoiles ne se remarquaient pas. Le ciel était noir et morne, et sur la terre c’était la joie. TOLSTOÏ. (shrink)

If the idea of a phenomenological aesthetic evidence is far from being obvious, it may yet become necessary in the description of the aesthetic experience. For the way a work of art can imperiously impose on the viewer reveals a kind of power that may suggests that this evidence is more than just a subjective feeling. Although Husserl’s phenomenology doesn’t consider such an evidence, and although this concept may even be regarded as a contradiction—since evidence particularly characterizes the givenness of (...) perceptive objects—we may yet find the conditions of possibility of such an aesthetic evidence in Husserl’s work. (shrink)

The London Lectures that Husserl delivered in 1922 are part of a broader program aimed at the systematic presentation of phenomenology. Within this framework, several strategies are deployed to address core disciplinary problems. Among them, this paper examines four aspects: the appeal to historiography in order to build a story that supports the fundamental theoretical decisions, the criticism of psychologism, the redefinition of the notion of transcendental and the specification of the disciplinary scope. These developments allow an assessment of the (...) London Lessons that recognize its peculiarities and avoid a disparaging consideration as mere preliminary version of the Paris Lectures, and legitimize a deeper study of husserlian presentations of phenomenology. (shrink)