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Displaying: 81-100 of 523 documents

film and phenomenology
81. Studia Phaenomenologica: Volume > 16
Corry Shores Cinematic Signs and the Phenomenology of Time: Deleuze and the Visual Experience of Temporal Depth
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By means of Vivian Sobchack’s semiotic film phenomenology, we may examine our immediate perceptual acts in film experience in order to determine the ways that the primordial language of embodied existence found at this primary level grounds the secondary level of the more explicit interpretations we give to the film’s elements. Although Gilles Deleuze is openly defiant toward the phenomenological tradition, his studies of film experience can serve this purpose as well, because he is interested in the direct and pre-verbal significance of cinematic images. To bring his observations more fruitfully into film phenomenological studies, I will examine his notion of the discordantly operating body and offer a phenomenological interpretation for his notion of cinematic signs. I then apply this Deleuzian semiotic film phenomenology to his analysis of deep focus cinematography in Orson Welles’ Citizen Kane (1941). When watching one particular scene, different layers of our film experience, namely, those of visual and of temporal depth, collide in such a way that they provide the phenomenal basis for us to produce a temporal interpretation of the spatial relations held between the displayed images.
82. Studia Phaenomenologica: Volume > 16
Jennifer M. Barker Haunted Phenomenology and Synesthetic Cinema
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By now it goes without saying that cinema is and has always been a synesthetic experience. But what exactly do we mean when we say that? The paper develops a phenomenology of “cinematic synesthesia” that draws upon three recent developments: first, the neuroscientific “neonatal synesthesia hypothesis”; second, Maurice Merleau-Ponty’s lectures on child psychology and translator Talia Welsh’s contextualization of that work within recent developmental psychology; and third, Dylan Trigg’s concept of a “darkened phenomenology” that accounts for the radically “unhuman.” These conceptual lenses are trained on Stanley Kubrick’s The Shining (1980), whose legendary impact stems from its perplexing tangle of the sensory with the cognitive, the unconscious with the conscious, the individual with the collective, and the past with the present.
83. Studia Phaenomenologica: Volume > 16
Tanya Shilina-Conte How It Feels: Black Screen as Negative Event in Early Cinema and 9/11 Films
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In this essay I engage the perspective of film phenomenology to analyze the black screen as a frame-breaking negative experience, based on an understanding of cinema as event. Relying on Vivian Sobchack’s phenomenological approach and taking inspiration from Cecil M. Hepworth’s How It Feels to Be Run Over (1900), a case in point for a method predicated on the question of “how,” I place emphasis on the “film’s body” and consciousness which, through its own paralysis and impairment, affects the spectator’s lived-body. Following the terminology of sociologist Erving Goffman, I approach both a car accident at the turn of the twentieth century and 9/11 on the cusp of the new millennium as frame-breaking events that generate a profound negative experience. I then describe the black screen in 9/11 films as a frame-breaking occurrence that creates a negative event in its own right. The encounter with the breakage of the conventional mechanisms and modes of the “film’s body” as well as the forced sensory shift lead the spectator to a heightened awareness of his/her own body as a receiving medium that empathetically partakes in the experience of a negative event at the scene of cinema, both perceptually and reflexively.
84. Studia Phaenomenologica: Volume > 16
Jane Stadler Experiential Realism and Motion Pictures: A Neurophenomenological Approach
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This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours (pre-1910) to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement.
85. Studia Phaenomenologica: Volume > 16
Frank Chouraqui Circulus Vitiosus Deus: Merleau-Ponty’s Ontology of Ontology
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This essay attempts to provide a unified analysis of two working notes from The Visible and the Invisible. In these notes Merleau-Ponty questions not only the accuracy of the ontology he is elaborating, but also the incidence and place of this ontology within the Being it describes. He finds that his ontology transforms Being as it describes it, and therefore keeps chasing its tail endlessly. This view is suggested by Merleau-Ponty’s use of Nietzsche’s expression “circulus vitiosus Deus” as a formula that both he and Nietzsche use to describe the ontological place of their ontology. Merleau-Ponty, like Nietzsche, offers an ontology in which Being is highly sensitive to ontological accounts, thereby construing Being as a principle of commensurability between action and description, language and reality, philosophy and world.
86. Studia Phaenomenologica: Volume > 16
John W.M. Krummel Chōra in Heidegger and Nishida
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In this article I discuss how the Greek concept of chōra inspired both Martin Heidegger and Nishida Kitarō. Not only was Plato’s concept an important source, but we can also draw connections to the pre-Platonic understanding of the term as well. I argue that chōra in general entails concretion-cum-indetermination, a space that implaces human existence into its environment and clears room for the presencing-absencing of beings. One aim is to convince Nishida scholars of the significance of chōra in Nishida’s thought vis-a-vis the other Greek concept of place, topos. Another is to convince Heidegger scholars who accuse him of neglecting chōra that, to the contrary, there is evidence of Heidegger’s appropriation of this concept. The point is to show that chōra is significant to the thinking of both while correcting certain misreadings and to show its relevance to us today.
87. Studia Phaenomenologica: Volume > 16
Rolf Kühn Das Affektive als Welt- und Fremderfahrung: Zur Einheit radikal phänomenologischer Wirklichkeit als Lebensimmanenz
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The paper attempts to propound a new understanding of the experience of the world and others on the basis of a radical phenomenology of the body, as it is revealed in the originary impressibility as affect and desire. This impressibility shapes every relation to beings and others due to the unity of an originary life that founds individuation before any temporal difference, having ethical consequences for a plural communality, which can no longer be characterized by means of mere abstract processes of objectivation.
88. Studia Phaenomenologica: Volume > 16
Christopher Lapierre Affectivité et imaginaire chez Merleau-Ponty: Nouvelles lectures
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The objective of this paper is to show that the specific meaning of “affectivity” in Merleau-Ponty’s works can be better understood by approaching its connection with the notion of “imagination”. This strategy can be contrasted with Sartre’s approach; his specific conception of consciousness locks off the relation between imagination and affectivity from the start. On the contrary, the free play of this axis, which can be analysed since the early Phenomenology of Perception, allows for the overflowing of the horizon of visibility of subjectivity toward a certain invisible. Th e concrete junction of imagination and affectivity then spreads out into the region of the notion of desire.
book reviews
89. Studia Phaenomenologica: Volume > 16
Mădălina Diaconu Kraft der Dinge. Phänomenologische Skizzen
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90. Studia Phaenomenologica: Volume > 16
Lucian Ionel Making Sense of Heidegger: A Paradigm Shift
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91. Studia Phaenomenologica: Volume > 16
Rolf Kühn Naissance mystique et divinisation chez Maître Eckhart et Michel Henry
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92. Studia Phaenomenologica: Volume > 16
Ştefan-Sebastian Maftei Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind–Body Dichotomy
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93. Studia Phaenomenologica: Volume > 15
Dermot Moran, Rodney K. B. Parker Editors’ Introduction: Resurrecting the Phenomenological Movement
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94. Studia Phaenomenologica: Volume > 15
Edmund Husserl, Thomas Vongehr „Exzerpte“ zu Jean Herings Staatsexamensarbeit (Ms. Signatur A III 1/9–16)
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The following text, which is now published for the first time, comes from Husserl’s manuscript A III 1 and was probably written in 1914. The text belongs to a bundle of pages which Husserl wrote down during the presentation and examination of the “Staatsexamensarbeit” of his student Jean Hering. The work “Die Lehre vom Apriori bei Lotze” was done by Hering in the summer semester 1914 in order to receive a degree that would qualify him as a secondary school teacher (Prüfung der Befähigung zum höheren Lehramt). Although this “Staatsexamensarbeit” was never published, Hering used parts of it for his article which appeared in the Jahrbuch, “Bemerkungen über das Wesen, die Wesenheit und die Idee. Edmund Husserl zum 60. Geburtstag gewidmet” (in: Jahrbuch für Philosophie und phänomenologische Forschung IV, 1921, pp. 495–543). Husserl characterized pages 5 to 8 of the manuscript A III 1 as his “own reflections” (eigene Refl exionen) on Hering’s work. These pages are published as “Text Nr. 5” in Husserliana XLI (pp. 83–89). What follows here are pages 9 to 16 of this manuscript, which Husserl called “free excerpts” (freie Exzerpte).
95. Studia Phaenomenologica: Volume > 15
Jean Héring, Sylvain Camilleri, Arun Iyer Phänomenologie als Grundlage der Metaphysik?: Phenomenology as the Foundation of Metaphysics?
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The document presented below stems from the Jean Hering Nachlass in the Médiathèque protestante of Strasbourg and was originally preserved in the Archive of the Collegium Wilhelmitanum Argentinense (the Protestant Institute) of the same city. It concerns a typescript of 7 folios, which was unknown up until now, dealing with the idealism-realism controversy and presenting original views on the consequences of this controversy regarding the issue of metaphysics.
96. Studia Phaenomenologica: Volume > 15
Hedwig Conrad-Martius, Susi Ferrarello Dankesrede bei der Feier zur Verleihung des großen Verdienstkreuzes der Bundesrepublik Deutschland am 1. März 1958: Acceptance speech at the ceremony for the award of the Order of Merit of the Federal Republic of Germany, March 1st 1958
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Hedwig Conrad-Martius was honoured with the Bundesverdienstkreuz, the Order of Merit of the Federal Republic of Germany, on March 1st, 1958. What follows is her acceptance speech on that occasion. In this speech, Conrad-Martius not only gives an account of her biography as a phenomenologist who studied directly with Husserl, but also demonstrates that Husserl’s work is open to a peculiar form of subjective materialist interpretation that can explain his transcendental turn. The speech is an important document for those who support the possibility of a Husserlian transcendental materialism.
97. Studia Phaenomenologica: Volume > 15
George Heffernan The Paradox of Objectless Presentations in Early Phenomenology: A Brief History of the Intentional Object from Bolzano to Husserl With Concise Analyses of the Positions of Brentano, Frege, Twardowski and Meinong
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This paper explores the close connection in early phenomenology between the problem of objectless presentations and the concept of intentional objects. It clarifies how this basic concept of Husserl’s early phenomenology emerged within the horizons of Bolzano’s logical objectivism, Brentano’s descriptive psychology, Frege’s mathematical logicism, Twardowski’s psychological representationalism, and Meinong’s object theory. It shows how in collaboration with these thinkers Husserl argued that a theory of intentionality is incomplete without a concept of the intentional object. It provides a brief history of the concept of intentional objects in the philosophical logic of the nineteenth century that demonstrates its relevance to the problem of objectless presentations in the early phenomenology of the twentieth century. It suggests that Husserl accepts Bolzano’s objectivism and Frege’s logicism, rejects Brentano’s conception of immanent objects and Twardowski’s notion of representational pictures, and ignores Meinong’s theory of objects. Thus the paper employs the formation of Husserl’s concept of the intentional object to enhance the understanding of the historical and philosophical relationships between early phenomenology and contemporaneous philosophical movements.
98. Studia Phaenomenologica: Volume > 15
Marek Pokropski Leopold Blaustein’s Critique of Husserl’s Early Theory of Intentional Act, Object and Content
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The aim of this article is to introduce the work of Leopold Blaustein — philosopher and psychologist, who studied under Kazimierz Twardowski in Lvov and under Husserl in Freiburg im Breisgau. In his short academic career Blaustein developed an original philosophy that drew upon both phenomenology and Twardowski’s analytical approach. One of his main publications concerns Husserl’s early theory of intentional act and object, introduced in Logische Untersuchungen. In the first part of the article I briefly present Blaustein’s biography and some general features of his philosophy. The second part provides an overview of Blaustein’s dissertation concerning Husserl’s early phenomenology. In the third and final part I summarize Blaustein’s research, including the critical remarks of Roman Ingarden.
99. Studia Phaenomenologica: Volume > 15
Hynek Janoušek Judgmental Force and Assertion in Brentano and Early Husserl
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The goal of the present article is to describe the Brentanian background of several topics concerning judgments and assertions in Husserl’s Logical Investigations. Why did Husserl abandon Brentano’s theory of two judgmental forces? Is the “is true/false” to be understood as an expression of judgmental force or as a logical predication? Is a “common expression” of the objective validity of judgment equivalent with our expression of our belief in that validity? Does the linguistic sign of the logical force manifest this force or not? In order to provide a better understanding of Husserl’s approach, the paper also discusses his earlier views on these issues in recently published manuscripts from the early 1890s and in his Logic Lectures from the year 1896.
100. Studia Phaenomenologica: Volume > 15
Christian Y. Dupont Jean Héring and the Introduction of Husserl’s Phenomenology to France
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The contributions of Alsatian philosopher and theologian Jean Héring (1890–1966) to the early reception of Husserl’s phenomenology in France have been recognized by Spiegelberg, Monseu, and others. This essay probes and elucidates certain historical details to a greater degree than previous studies and also calls attention to the philosophical influences that Héring transmitted to his contemporaries, focusing in particular on his encounters with Emmanuel Levinas and Lev Shestov. It argues that while Héring’s role in facilitating the introduction of Levinas and others to Husserl was important, his more significant contributions consisted in analysing and correcting Levinas’s and Shestov’s appraisals of Husserl’s teachings.