The paper addresses a phenomenological explanation of the processes of meaning-formation that take place in everyday life. Whereas various social sciences have taken a structuralist standpoint and refer to cultural structures that inform and shape the way things are experienced, classical philosophical epistemology, in contrast, has put an emphasis on the individual mind as the active center of meaning-formation. The author argues for a cultural phenomenology that is capable of giving a philosophically satisfying epistemological account of individual experiences that are (...) culturally structured. As a result, meaning-formation processes are viewed as reciprocal enactment of mind and world, creating the qualitative dimension of meaning of human being-in-the-world. (shrink)

The paper presents a phenomenological investigation into experiencing boredom in everyday life. The analysis is grounded in several concrete experiences that the reader is invited to participate in and imaginatively stage for him or herself. Based on these thought experiments, and theoretically proceeding from the work of Husserl, Heidegger and others, the paper argues that boredom has to be seen as a particular way of experiencing time, namely, experiencing it as being non-eventful. The characteristic feature of experiencing a situation as (...) eventful depends on the possibility of filling the time of the situation with meaning by colonizing and domesticating it with narratives, purpose, usefulness, etc., whereas in boredom we are facing the not yet domesticated, not yet cultivated, not yet narrativized time that is perceived as empty, uncanny, and unhomely. The time of boredom is experienced as “not mine,” and, in its most alienating form, as inhuman. (shrink)

The dissertation makes two principal claims. First, it offers a variation of what has recently been called the "non-metaphysical" interpretation of Hegel's philosophy. I argue that Hegel's theory as a whole is not a monistic ontology of the world-substance called "spirit." Rather, Hegel's "philosophy of spirit" is an account of "cultural formations" in the same sense as Cassirer's philosophy of culture is a theory of "symbolic forms," and Foucault's archeology is a theory of "discursive formations." The "cultural formations" in Hegel (...) include social institutions such as family and civil society, and cultural practices such as science, art, and religion. Cultural formations come into existence as products of human activity in the course of history. Hegel's philosophical theory consequently can be interpreted as a philosophy of culture. Hegel maintains that human being is essentially a cultural being and is essentially determined by its In-der-Kultur-Sein rather than simply and "abstractly" by its In-der-Welt-Sein . ;The second principal claim concerns Hegel's "dialectical" method. I argue that Hegel develops a non-essentialist, non-universalistic, and non-foundationalist philosophical method, that can still distinguish between truth and falsity, good and bad. The method, which Hegel called "speculative," can in modern philosophical terms be most properly called "phenomenological." It is phenomenological in the sense that it proceeds from the givenness of experience, and that it describes the structures of this experience. The difference between Hegel and Husserl lies in the fact that Hegel does not restrict the subject of experience exclusively to the consciousness of a single human individual. The subject of experience in Hegel can be a social group, such as family, estate, or a nation, but also a group of agents involved in a particular social practice, as for example in Hindu religion, or in Ancient Greek craftsmanship. This feature enables Hegel to widen significantly the scope of the phenomenological research and to apply it to communal, historically and culturally determined experience. (shrink)

The paper applies phenomenological method to the analysis of perception of landscapes and other spatial formations. A spatial formation is seen as a region of space, or a territory, with its specific meaning that is experienced by the subject who views it. Husserl’s theory of meaning-formation is used to clarify how spatial formations obtain meanings that define them as landscape, home, or country. It is suggested that besides the subject’s position and the series of perceptions of objects, the decisive element (...) that determines the meaning of the specific spatial formation is what Husserl calls a “grasping sense” . It defines the gaze specific to a particular spatiality. When the “grasping sense” becomes intersubjectively valid and institutionalized, it obtains the status of a cultural form which functions as a meaning-bestowing automaton for interpreting the world for entire societies. Finally it is argued that the spatiality specific to human Umwelten serves the purpose of creating and maintaining meanings that would otherwise disappear in the flux of time.Keywords: perception of landscapes, spatial formations, phenomenological method, grasping sense, cultural form. (shrink)

Artikkel lähtub Hegeli filosoofilise süsteemi mittemetafüüsilisest tõlgendusest ja keskendub ühele aspektile Hegeli dialektilise meetodi juures, mille iseloomustamiseks oleks autori arvates kõige adekvaatsem kasutada narratiivi mõistet. Artikli tees on kokkuvõtlikult järgmine: Hegeli arvates ei ole filosoofiline tõde väljendatav ühe lause või propositsiooniga, vaid see nõuab tervet väidete jada, kusjuures mõistete määratlused selles väidete jadas peavad suutma teiseneda --- nii nagu kirjandusliku jutustuse käigus võivad teiseneda tegelaste iseloom ja arusaamine asjadest . Lisaks neile kahele omadusele on narratiivile iseloomulik talle omaste struktuurielementide abil (...) loodud terviklikkus, mis võimaldab tal anda edasi sellist mõtet, mis ei sisaldu üheski narratiivi moodustavas lauses üksikult võetuna. Need kolm omadust võimaldavad Hegeli "dialektilisele" meetodile narratiiviteooria vahenditega uut valgust heita ja spekulatiivse tõe loomust paremini mõista. The paper discusses the nature of Hegel's dialectical method and criticizes its wide-spread interpretation according to the thesis-antithesis-synthesis formula. It is argued that there is no evidence of triadic structures in Hegel's works. Rather, the elements or "determinations" ) that make up the body of Hegel's texts, are organized as "series" that form circles, in which, as Hegel maintains, the last element leads us back to the first. If synthesis means creating something new by using the initial elements then it is problematic whether anything becomes synthesized in Hegel texts. The paper argues against interpreting the every third element of the series or the end-points of the series as synthetic unities. Instead, the paper proposes that Hegel's speculative method uses the form of narrative for creating a vessel that is able to express the "speculative truth" which is "fluid" and which requires a "plastic" form of presentation. Narrative can accomplish what a singular proposition and a deductive system cannot, because it consists of a series of claims that is able to express the movement of what is said in each claim, and because its ending creates a point at which the story as a whole obtains a meaning that is not expressed in any particular sentence constituting the story. (shrink)