Objects and events from the outside world are represented in our consciousness through the structure of time. Temporality and consciousness are closely related phenomena and in this paper, I intend to explore their relationship by referring to the philosophy of Edmund Husserl. I will try to provide an adequate contemporary interpretation of Husserl’s understanding of temporality and the relationship between the internal structure of time and consciousness through the conceptual framework of dynamic systems theory and enactivist theory of cognition.. In (...) order to succeed in my intention, I will rely on a unique ability of the subject: activity. (shrink)

This article analyses the central themes in the works of Claudio Magris through a critical reading of Danube, A Different Sea, Microcosms, Utopia e disincanto [Utopia and disenchantment], Blindly, Journeying, and Alfabeti [Alphabets]. Magris’s work, be it his fiction or essays, abounds with descriptions and narrations of spaces and places, which become central to his world-view as an author. These spaces and places, located primarily in Central Europe and in the surroundings of his own city, Trieste, inspired his turn to (...) Eastern Europe, including the Slavic countries. Conscious of the Western Europeans’ often condescending view of the East, Magris became a vocal critic of Western Eurocentrism, which he attributed to their insufficient familiarity with the cultures and histories of their Eastern neighbours. Magris’s primary interest has always been Europe’s ethnic and cultural coexistence, with a particular affinity with dissident, nationless, and exiled literary figures, in line with his notion of hybrid, fluid, and multiple identities. The works of Magris offer compelling reflections on a Europe viewed through the contradictory encounters between East and West. As such they have contributed to the gradual creation of hybrid identities, which, through their historical palimpsests, have become part of a broader cultural geography. (shrink)

The article discusses a methodological position that allows interpreting modes and, fist of all, musical modes as cosmographic and ethical objects without losing the approach to them as musical phenomena proper. The study is based on musical theoretical data relating to the period of Classical antiquity and the Middle Ages, as well as on the author's concept of modal ontology and the interpretation of modus as artistic content, developed by E.V. Nazaikinsky. In order to reveal the ontological prerequisites for the (...) unity of the musical modus with a cosmographic or ethical phenomenon, the author analyzes the ancient Chinese system of tones lü, Indian ragas, ancient tetrachords, the voices of the Russian Orthodox znamenny chant. The features of the correspondence of these musical phenomena to the periods of the year or day, elements, archetypal states of the human spirit, social laws are revealed. In the course of the analysis, the question is formulated about the nature of the connection between musical modes and non-musical reality: was it exclusively conventional, established by virtue of tradition, or did it have other, essential reasons? The search for unconventional foundations of the unity of musical modes with natural and socio-ethical phenomena leads to its ontological interpretation. The relevance of this research method is argued in the process of critical analysis of the semiotic approach to musical modes as references or conventional signs of objects. It also demonstrates the unproductiveness of the psychoemotional interpretation of musical modes as stimuli that cause certain emotional states. The result of the research is the development of a specific musical-ontological approach based on the methodology of modal analysis. This analysis aims at a syncretic understanding of unity. In the light of this approach, it was concluded that the concept of musical modus not only clarifies the rhythmic and harmonic laws of the musical language, but also embodies the interconnection of the phenomena of music, human spirit, nature, and space. (shrink)

The article aims to concretize the phenomenological account concerning the problem of an auditory image. The author considers auditory imagery as a scientific object and compares different treatments of the problem to fix the potential and advantages of its phenomenological interpretation. In the first stage of the study, the author distinguishes the key characteristics of the image by means the lexical analysis. This is the perceptual (predominantly visual) nature of an image, integrality, and essentiality (image as an idea). In the (...) second stage, the understandings of the mental and auditory imagery in physiology, experimental psychology, music psychology, musicology, and interdisciplinary studies are described. In the third stage, the peculiar phenomenological ways of the comprehension of an auditory image are revealed. The phenomenological interest is to pick out consciousness which perceiving of an image equally from the process of perceiving and from entailing in an image. The specific phenomenological stance is placing an auditory image on the bound of transcendent (the process of perceiving) and immanent (an image that is already perceived). The auditory image is conceived as the unity of Modi of its givenness. Most fecks of this Modi are original, they cannot be transferred into other science scopes: they are the interconnection of all moments of the temporal unfolding, self-organization in the time, self-referentiality, non-semanticity, periodicity/randomness, eventuality, quasi-embodiment (physicality). Solely phenomenological problems are problems of the constitution of an auditory image, its life-horizon, intersubjectivity, and regional matching. The author infers that phenomenology does not conceive auditory image as sustained auditory representation, associated with acoustic memory. Its perceptual nature does not play a key role here. Moreover, the perceptual-semantic duality of the image is not fixed by the phenomenological description. The phenomenological approach is unique because it researches auditory data exhaustively but does not use semantic and referential analysis of them. The main feature of phenomenological description is the focus on the unity of auditory image: All the elements of auditory data are interpreted in their synthesis as the different levels of the unity of hearing image. Thus, the phenomenological approach as a whole is the most promising for comprehending such a dominant quality of the auditory image as integrality. (shrink)

Frege and Husserl are traditionally regarded as the precursors of the linguistic turn; however, the importance of their ideas for this event still is not fully comprehended. This article contributes to such comprehension: the principles of the linguistic turn in its analytical interpretation provided by Rorty are applied as an indicator revealing the commonality and difference of Frege’s and Husserl’s positions regarding key issues of their concepts. The connection of the philosophers’ ideas with the linguistic turn is viewed in the (...) context of their interpretation of predicativity, propositionality, contextuality of meaning, and ways of categorization. The analysis conducted gives rise to distinguishing between Frege’s and Husserl’s referential schemes. It is based on the differences in the characteristics of the connection between perception and predication. In conclusion, the arguments against Frege’s and Husserl’s involvement in the linguistic turn are emphasized. These arguments stem from the idea of the primacy of sense over language fundamental for both philosophers who proceed from the fact that certain a priori logical relations underlie utterances or other acts. There is a more solid argument which does not allow considering Frege’s and Husserl’s legacies as its source. This argument consists in the fact that they regard sense as an objective, communicable, and universal phenomenon independent of its carriers, not inherently linguistic, and pre-logical which is due to its intentional nature according to Husserl and logical “indecomposability” of concepts according to Frege. (shrink)

Phenomenology of music has been a perspective trend of phenomenological aesthetics for more than a hundred years. The topic of the paper is fixation the main problems and vectors of development of phenomenology of music. The authors execute an analysis of Roman Ingarden’s position in the discussions concerning the methodological and ontological problems of phenomenology of music. The paper aims at revealing succession in Roman Ingarden’s solutions to the phenomenology of music problems. The other aim is reflection on the originality (...) of Ingarden’s ideas in the context of phenomenological interpretations of music in 20th and 21st centuries. The solution to these tasks allows the authors to fix key problems and identify the principal positions of phenomenology of music. The main sources of the comparative and historical analysis are the studies carried out by Husserl, Sartre, Merleau-Ponty, Clifton, and Ihde. The most important ontological problems of phenomenology of music are: spatiotemporal constitution of music, reduction of a work of music to its performance, and ontological status of a work of music. The analysis of Ingarden’s position on these problems allows us to characterize it as something different from the existing versions. According to the conception, the time of music is a special type of time, that is, quasi-time. A piece of music is a purely intentional, heteronomous, and intersubjective object. There are a number of methodological specificities of Ingarden’s approach: a refusal of reduction of musical theoretical data, a tendency for independence of a piece of music from conscious and mental processes, and an interpretation of a piece of music as a non-sounding phenomenon. In conclusion, the authors demonstrate how the originality and radical nature of Ingarden’s conclusions made his position defenseless against critique and simultaneously marked the tendency in the contemporary phenomenological studies of music. (shrink)

The author specifies the origin of the terms “Copernican Upheaval” and “Copernican Revolution” considering the spatial interpretations of this philosophical metaphor, which was evoked by the Kantian analogy between his model of knowledge process and the model of the solar system by Copernicus. On the base of Solomon Maimon’s criticism and subsequent scientific discussion, the author studies the analogy between a rotation of celestial bodies and the conformity of objects to knowing reason. As the result, the author offers two approaches (...) to the interpretation of the spatial analogy of the Copernican Revolution. 1) As the analogy of mobility (plasticity) and immobility (immutability) of celestial bodies / reason in relation to knowable objects. 2) As the analogy of relativity and absoluteness of movement / cognition, leads to the question of the starting point and direction of predication in cognitive trajectories. (shrink)

In my review, I analyze the main theses of Anastasiya Medova’s monograph entitled Phenomenology of Musical Experience (2021). The author of the book raises the issue of what it is that we generally hear as music, as well as many directly or indirectly related other issues with regard to both the essence and the ontological status of music. According to her, it is only the phenomenological methodology that can provide an answer to these questions, which deals with the specifics (...) of a musical object always in the context of the specifics of musical experience. Particular emphasis in the review is placed on the concept of reduction, as it is used in relation to music. It is designed to clear the experience of all elements not related to music as such, including sensitive shape-associations that often arise while listening to music. Another important point in the study of A. A. Medova is her posing of the question as to the regional nature of music and its possible correlation with the sphere of aesthetic in general. In this regard, I point out that the author of the monograph seeks to justify the irreducibility of music to the aesthetic sphere and that her solution of the problem of the possible regionality of music remains insufficiently determined. I also emphasize that one of the points of interest in the book is that Medova works with specific material, notably with the interpretation of significant works of musical art and the analysis of important theoretical statements about the essence of music. (shrink)