Despite his major contributions to phenomenology, the writings on suggestion and hypnosis by Erwin Straus (1891–1975) have been underappreciated. In his German language publications of 1925 and 1927, Straus argues that we cannot elucidate the phenomenon of suggestion solely or even primarily through experimental design, a narrow natural scientific viewpoint, or an emphasis on abnormal or special states of dissociation. In contrast, a phenomenological study that begins with everyday experience demonstrates that suggestion is part of normal experience, and its understanding (...) must include the possibility both of acceptance and of rejection. Straus’s arguments in these essays are enhanced by his later books and articles developing the I-Allon relationship, the process of we-formation, and the distinction of pathic and gnostic moments of sensation and perception. By fully situating the phenomenon within theLebenswelt, Straus’s analysis of suggestion is a major contribution to phenomenology. (shrink)

Engaging with the account of pathic subjectivation developed by Félix Guattari, this article explores the ways in which his thinking about the production of subjectivity takes up and transforms the concept of the pathic dimension of experience that emerges from the rich tradition of existential-phenomenological psychiatry and the thematisation of contact it entails. Explicitly foregrounding the link made within that tradition between aesthetics and existence, this article considers the origins of Guattari’s conception of pathic subjectivation in his work on Proust, (...) the experimental understanding of the semiotic transformations of sensory experience it entails and the practical role it plays in catalysing the creative emergence of new modes of existence. (shrink)

Martial-arts practice is not quite anything else: it is like sport, but is not sport; it constantly refers to and as it were cohabits with violence, but is not violent; it is dance-like but not dance. It shares a common athleticism with sports and dance, yet stands apart from both, especially through its paradoxical commitment to the external value of being an instrument of violence. My discussion seeks to illuminate martial arts practice by systematic contrast to games of sport and (...) works of performance art, especially dance. (shrink)

Translated from: W.V.O.Quine, W. H. O. (1986): Philosophy of Logic. Second Edition. Harvard University Press. Cambridge, Massachusetts and London, England, 47-61.