We aim to contribute to recent situational approaches to the study of interpersonal violence by elaborating the concept of trajectories. Trajectories are communicative processes in which antagonists act upon each other’s bodily and verbal actions to project a direction for the interaction to take, which is then (con) tested in the exchanges that follow. We use the notion of trajectories to gain insight in how participants turn an antagonistic situation into a violent encounter, which we contrast to interactionist and micro-sociological (...) understandings. Using ethnomethodological and conversation analytical tools, we detail the trajectories of three violent encounters, captured on phone camera recordings to answer the question how verbal and bodily exchanges project physical violence. Methodologically, our contribution shows how bodily actions can be studied in visual data. Our cases show how antagonists move the interaction toward violence by creating a metaconflict revolving around the conditions under which the interaction will become a physical confrontation; what we call the contested projection of violence. We conclude that the concept of trajectories offers a useful analytical tool to detail the shifts and turns of the interactive process—notably it’s bodily dimensions— that characterize antagonism and violence. Substantially, our analysis raises questions about conceptualizations of the emotional dynamics (notably the role of dominance) of violence, as proposed by earlier micro-sociological and interactionist work. We therefore suggest that future studies engage with these issues in more detail and in larger datasets. (shrink)

This paper examines the relationship between religion and violence from a phenomenological point of view. In the context of the so-called "return of the religious" and the crisis of contemporary social imaginaries, it deals with the supposedly disruptive and liberating potentials of religion in general, and religious violence in particular. The discussion revolves around the concept of "verticality" as developed by A. Steinbock and offers a generative interpretation of verticality's liberating and transformative potentials. The paper proceeds to demonstrate how religion (...) and violence are interrelated on a variety of levels. In conclusion the author argues that we need to understand the relationship between religion and violence in terms of its contingent actualization and display but must avoid pitting it down as an essential feqture of religious systems of knowledge and practice. (shrink)

In this paper, I reference a Paradigm Case Core Conception of Violence, which each individual has, and can share with others to various degrees. This is shown to imply that because we cannot get at violence itself, and can only interpret violence in relationships that involve humans, we cannot avoid politicizing our conceptions of violence in our empathic, intersubjective relationships. This is demonstrated by outlining various claims concerning violence, and by utilizing Edith Stein's phenomenological account on empathy and intersubjectivity, and (...) Alfred Schütz’s characterizations of commonsense constructs and typicalities, as well as theorists who define violence in reductive and non-reductive ways. (shrink)

This paper aims to address the manner in which the protester’s opposition, or what I consider as the protester’s being-there-against, “profiles” itself in the no-man’s-land between non-violence and violence. My focus is therefore to unfold some of its constitutive layers, relying on the conceptual tools prominently provided by Ricoeur’s hermeneutical phenomenology. The first constitutive layer concerns the protester’s bodily presence, seized first of all as a specific “here” and “there,” and then as an expressive body that is communicating through gestures. (...) Within the interpretation of one of these gestures—the fist raised in the air—I highlight the anamnestic nature of the protester’s being-there-against as it appears in the relationship with a state whose legitimacy comes from taking over the monopoly on violence. The second constitutive layer is related to the linguistic dimension of the protester’s presence: here special attention is paid to the way language and violence connect, having as background an analysis devoted to the surplus and the deficit of meaning attached to the slogans chanted by the protesters. (shrink)

The concept of depth is central to Merleau-Ponty’s phenomenology and informed not only his philosophy of perception but also his thinking about psychology, art and politics. This article traces the ways the notion of depth appears in Merleau-Ponty’s thinking in these fields, contrasting it with Husserl’s own phenomenological investigations. The article starts with a comparison of the function of perception in Husserl’s phenomenology and then proceeds with an analysis of how the issue of depth reappears in Merleau-Ponty’s phenomenology of perception, (...) phenomenology of art and political philosophy. I argue that while Husserl’s approach to phenomenology led him to analyses of aesthetics stemming from works of art as random examples, and to non-participation in politics, Merleau-Ponty’s phenomenology leads to the opposite approach, inviting concrete criticism in art and active participation in politics. It is argued that Merleau-Ponty’s approach is more philosophically consistent. The choice of particular works of art, and the particular political engagements, can retrospectively clarify the transcendental phenomenological investigations themselves. (shrink)

This paper argues that Jean-Paul Sartre’s discussion of violence from his Notebooks for an ethics constitutes an attempt to go beyond an instrumental view of violence. An “instrumental view of violence” essentially assumes that violent behavior is a form of pragmatic behavior whose distinguishing feature consists in the kind of means one employs for reaching one’s goals (violent behavior resorting to means that are harmful for others, whereas non-violent behavior does not). For his part, Sartre attempts to provide a stronger (...) demarcation between violent and pragmatic behaviors. First, violent behavior is, for Sartre, not necessarily characterized by the use of particular means, but by a particular manner of using means, one that involves a certain “forcing” or “straining” of the means. Second, I argue that, according to Sartre, in contrast with pragmatic behavior, violent behavior involves a modification of one’s attitude towards one’s goals. Three such modified attitudes with respect to one’s goals are detailed here, namely the non-productive attitude (the assumption that the goal is not to be produced or that it is not to be produced by means that are under our control), the counter-productive attitude (the exacerbation of one’s proximate goal at the expense of more distant goals) and the anti-productive attitude (the active refusal of one’s previously set goal). Moreover, I show that Sartre’s view that violence involves the “straining” of one’s means is undergirded by his idea that violent behavior presupposes the modification of one’s attitude with respect to one’s goals. (shrink)

Violence is signaled by a mark of discontinuity, interruption, rupture. The tripartite temporality of violence, with its strong focus on the present, points to the originary violence. Moreover, the violent event is structuring the order of the action sequences in an actual violent (embodied) interaction. The interactional dynamics in violent encounters between co-present actors shapes the specific forms of the experiencing in (and of) the violent interaction. Based on how violence is experienced in an interactive situation, the phenomenon of violence (...) articulates itself according to three coordinates: directedness, co-performativity and de-capabilisation. The outlining of the structure of the lived experience of violence is revealing something irreducible in it. To understand the experience of violence as such, I propose that we accept the idea of violence per se and depart from the idea that the acts of violence are essentially moral actions. The core of the ethical-moral discussion concerning violence should be grounded instead on the moment of conversion identifiable when we take into account the reaction to violence. (shrink)

This article seeks to provide a phenomenological inquiry into schizophrenia through which I propose to bring to the fore the mental violence exercised against the self in the case of a psychotic patient. My main aim is to show that a phenomenological analysis of mental illness, interpreted as a disintegration of the ego, can be very fruitful for understanding violence in general because it raises fundamental questions concerning intersubjectivity, intentionality, and self-awareness. In order to accomplish this objective, I will take (...) as my point of departure a case study of mental illness as presented by the analyst Marguerite Sechehaye, and I will explore, first, the phenomenological implications of the disintegration of the ego, and second, the dynamics of the reconstruction of the ego. Third, I will address the question whether mental illness is a form of violence against the self, sketching an answer by interpreting the transition from the disintegration of the ego to its reconstruction as an elevation from a poor phenomenon to a saturated phenomenon. Finally, I will suggest how opening a dialogue between phenomenology and psychoanalysis can contribute to understanding the phenomenon of mental violence. (shrink)

The aim of this article is to explore the emotional dimensions involved in the phenomenon of interpersonal violence, identifying various modalizations of affectivity occurring in the architectonics of this phenomenon. I will first concentrate on symmetrical violence, namely, on the emergence of irritation, annoyance, anger, and fury leading to fierce confrontation. Next I will explore asymmetrical violence, where the passive pole experiences the imminence of the other’s violence in fear and in being terrified. I will then focus on the experience (...) of the third in the face of violence, showing that here the affectivity is differently constituted each time, depending on the various situations of symmetrical and asymmetrical violence that the third witnesses. Finally, I will contrast the experience of real violence with the experience of violence-as-image, and I will pose several questions regarding the modifications of the affective experience of the third in the face of depicted violence. (shrink)

Our most current experience of violence is not predominantly violence “given in the flesh,” but violence given through the mediation of the image. The phenomenon of real violence is therefore modified through the imagistic experience, involving first of all its emotional, embodied and intersubjective dimensions. How is the emotion constituted in the face of depicted violence, in contrast to the lived experience of real violence? Is the intersubjectivity modified when violence appears pictorially? What specific embodied dimensions are particularly engaged when (...) violence is lived as an image, and not as a real phenomenon? The phenomenon of imagistic violence can also be understood in contrast with the experience of violence lived in phantasy, memory, or dreaming. Also, since each type of image puts into play certain possibilities of depicting violence, making possible various subjective experiences of violence, it crucial to explore how this experience fundamentally depends on the type of image by which the phenomenon of violence is depicted, be it painting, photography, fiction film, documentary or media image. (shrink)

In this article, I address the question of violence with respect to the phenomenological difference between the transcendental and the empirical field. In the first part, I phenomenologically address the notion of violence, developing a concept required for an account of the phenomenon of violence. Thus, I correlate it with the notion of vulnerability, arguing that violence cannot be understood irrespective of vulnerability. However, a proper phenomenological account has to indicate the subjective conditions of possibility of a phenomenon as it (...) is given in experience. Therefore, we should ask: what is the status of violence when we are talking about the transcendental field? This question leads to the second part of my article, where I address the notion of violence from the perspective of the difference between the pure and the empirical ego, as it has been traced out by Husserl. If from the point of view of an empirical ego the concept of violence is meaningful, from the point of view of the transcendental ego it seems to be absurd. This is particularly significant, because Husserl is talking about the transcendental ego as being immortal. The pure ego is thus invulnerable and this means that violence—understood from the point of view of both the violating subject and the violated one—is something that cannot be linked to the transcendental field. The question that arises—how is violence possible on the empirical level, since it is impossible on the transcendental level?—is a question to which Husserl cannot respond. (shrink)

The paper aims to give a phenomenological account of the way in which the experience of violence is modified in the aesthetic images. The phenomenological framework in which I place my analysis is primarily given by Edmund Husserl’s conception. The investigation starts from the curious fact that violence cannot be aesthetically experienced when it is presented in person, but it can be aesthetically experienced in images. I claim that the reason for this asymmetry lies in the structure of image-consciousness, that (...) is, in the differences between the physical thing, the depicting object and the depicted subject. Given that the image-consciousness presupposes the background of the physical thing, which is constantly and implicitly aimed by the consciousness, it is possible to focus only on the manner in which the depicted violence appears. In this way, we can aesthetically contemplate a violent scene without being disturbed by it. To show this, I bring forth a brief presentation of the a priori structure of (i) image-consciousness and (ii) aesthetic attitude, as they have been theorised by Husserl. After (iii) providing a minimal concept of violence and explaining some of the modifications that violence undergoes in image-consciousness, (iv) I show how violence is modified in aesthetic images. (shrink)