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41. Studia Phaenomenologica: Volume > 15
Simon Calenge Hans Lipps critique de l’idéalisme de Husserl
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Hans Lipps’s originality lies in a tension between his hermeneutical and existential philosophy on the one hand, and his analysis of themes belonging to classical logic, on the other. To understand this tension, it must be examined at its point of origin – when Lipps discusses Husserl’s philosophy. The purpose of this text is to explain the opposition between Lipps and his first Master. Lipps’s critique of Husserl concerns transcendental idealism, the transcendental reduction, and the concept of intentionality, which appear to Lipps as an escape from the realm of facticity. Husserlian idealism is then similar to Kant’s critical philosophy. Pursuing his inquiry from the perspective of facticity, Lipps refutes Kant’s and Husserl’s transcendentalism and their focus on the realm of representation. He tries nevertheless to analyse the classic problems of phenomenology and Kantian logic from the point of view of facticity.
42. Studia Phaenomenologica: Volume > 15
Philippe Merlier Interpellation et chiasme
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This article examines the points of similarity and the differences between the Patočkian concept of interpellation (oslovéni, questioning) and Merleau-Ponty’s concept of chiasmus. These two modes of relating-to-being through language and body, perception and space share the same character of reversibility and openness to the other. However, the “co-respondance” between the subject and the world is not approached by the two phenomenological philosophers from the same perspective. Being-questioned is the inter-psychical event specific to one’s experience of others and of the world; the chiasmatic structure is the bedrock of the ontological relationship and the intercorporeity of beings. Close, but distinct one from the other, interpellation and chiasm(us) partially reveal the common preoccupations of two philosophers whose dialogue History never allowed to occur.
43. Studia Phaenomenologica: Volume > 16
Anna Caterina Dalmasso Le plan subjectif réversible: Sur le point de vue au cinéma à partir des écrits de Merleau-Ponty
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When I am watching a movie, I perceive on the screen a space, which is united and lived, even if it appears as fragmented and separated from the world in which I live. But is the space of the cinematic frame equivalent or commensurable with the one I see through my own eyes? Are they opposed to each other or do they merge together? The most amazing example of the possible convergence of gaze and frame the film realizes is the phenomenon of vision showing itself in the point-of-view shot. How can I perceive what I see on the screen as the vision of another, and the film itself as someone else’s vision? How does this relationship between the visual field of the film and my own, between my body and the screen, challenge the limits between objective and subjective? Drawing on Merleau-Ponty’s reflections about cinema and visibility, I try to outline the traits of what I would call a reversible point-of-view shot.
44. Studia Phaenomenologica: Volume > 16
Pierre Rodrigo Ontologie du mouvement, peinture et cinéma chez Merleau-Ponty
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The present paper investigates the late ontology of Maurice Merleau-Ponty, which considers being as expressive movement. The paper takes as its point of departure Merleau-Ponty’s reflections on painting, sculpture and especially cinema. Two reasons justify this choice. On the one hand, Merleau-Ponty’s reflections on film as a work of art are now starting to be better known, after they have been overshadowed by his writings on painting, sculpture or literature for a long time. This entails a considerable enrichment of our interpretation of Merleau-Ponty’s aesthetics and his ontology. On the other hand, if Merleau-Ponty’s general theory of aesthetics leads to questions concerning the sense and the ontological status of movement, it is certain that, within this theory, the analysis of the particular mode of expression of cinematic images gains an extraordinary relevance.
45. Studia Phaenomenologica: Volume > 16
Olivier Malherbe Roman Ingarden et le cinéma: entre visibilité et musicalité
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In the vast field of Roman Ingarden’s ontology, film seems to occupy very little space. Indeed, Ingarden dedicated only two short texts to it. This paper aims at reconstructing Ingarden’s theory of film by expanding on the intuitions and sketches presented in those texts, using Ingarden’s general inquiries on aesthetics and specific inquiries on various forms of art (literary works, music, painting, etc.) The paper first focuses on the mode of being of film, trying to elaborate the distinctions made by Ingarden between physical foundation, work of art, and aesthetic object and elucidating the relations between film and reality. The paper then moves on to the investigation of silent pictures as an art of pure visibility, then to talking pictures, taking into consideration all the modifications induced by sound and music. Ontological and aesthetical considerations jointly underpin this attempt to show the richness and significance of Ingarden’s theories.
46. Studia Phaenomenologica: Volume > 16
Jean-Pierre Meunier Le problème de l’identification filmique reconsidéré
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This article reconsiders some of the arguments that I made in my two phenomenology-inspired books on what I have called the “filmic identification” in the cinema: Les structures de l’expérience filmique (1969) and Essai sur l’image et la communication (1980). While the former has received some attention in film studies via Vivian Sobchack’s mediating work in her influential essay “Toward a Phenomenology of Nonfictional Film Experience” (1999), the latter is little known in film studies and phenomenological circles. The two guest editors have therefore asked me to introduce and update my former position and place it in the intellectual climate of French-speaking film studies from the 1950s to the 1980s—that is, from the filmology movement to the dominance of semiology and psychoanalysis.
47. 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.
48. Studia Phaenomenologica: Volume > 17
Lucia Zaietta La premiere personne en biologie : passion et révolution: Repenser la subjectivité animale a la lumiere de la dimension pathique
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Animality is a central issue in phenomenology. If the core of the phenomenological approach is the investigation into the correlation between subject and object, what are we talking about when we talk about animal subjectivity? Is it possible to include the notion of animal being in the category of subject? What kind of intentionality does it possess? Our article will analyse the pathic dimension in order to track down some indications about animal subjectivity. Particular emphasis shall be placed on Weizsacker and Merleau-Ponty’s perspectives. Both call into question the definition of subjectivity as an absolute and neutral gaze, exclusively attributed to human being. By contrast, by analysing sensitivity as the common background between animal and human beings, it will be possible to introduce the subject into biology, as explicitly stated by Weizsacker. Subjectivity lies at the intersection between passivity and activity, between perception and movement, between passion and revolution.
49. Studia Phaenomenologica: Volume > 17
Jean-François Perrier De la phénoménologie a l’éthique animale: Subjectivité et animalité chez Jacques Derrida
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The goal of this article is to demonstrate that, following Derrida, in order to develop a theory of animality it is necessary to renounce to the implicit use of concepts related to subjectivity (such as “ego,” “ipse,” or “Dasein”). The deconstruction of subjectivity is thus the only way to establish an ethical requirement concerning animals, a requirement which is no longer conceived from the point of view of our “humanity.” In the first part of the paper, I attempt to locate Derridean ethics within phenomenology in a way which situates ethics in relation to the experience of aporia. In the second part, I focus on what Derrida calls the “carnivorous sacrifice” and try to outline a concretization of the ethics of hospitality and of responsibility that reconfigures our relationships with animals.
50. Studia Phaenomenologica: Volume > 17
Claude Romano L’énigme du « Selbst » dans l’ontologie fondamentale heideggérienne
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What does the ostensibly innocuous phrase “das Selbst” (the self ) exactly mean in Heidegger’s fundamental ontology? Does Heidegger really have a “theory of the self ” in the same way as, say, Descartes, Locke or Husserl? This is what has been often concluded by many interpreters of Being and Time, and it is that view that the current paper attempts to challenge. Heidegger not only rejects the supposition of a substantial ego, along the lines of Descartes’ conception, but he also repudiates any “self ” understood as a present-at-hand being, an inner core of Dasein, and he insists on the intrinsic connection between the “egologies,” from Descartes to Husserl, and “traditional ontology”. What seems to be at stake in the fundamental-ontological approach of Sebstheit and Selbstsein, Being-oneself, is rather a complete paradigm-shift, since both concepts refer to “ways of being” or “ways of existing” of Dasein, and no longer at all to a self-identical being of a condition of its self-identity. In trying to investigate the economy of the related existential concepts of Jemeinigkeit, Selbstheit and Man-selbst, this article makes the claim that Heidegger’s break with egology is much deeper that it has been often thought, and that the phenomenologist raises a completely new question, rather than trying to give a new response to older ones.
51. Studia Phaenomenologica: Volume > 17
Roberto Terzi Être, histoire, écriture: Derrida lecteur de Heidegger
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The aim of this paper is to highlight the main features of Derrida’s interpretation of Heidegger in his 1964–65 lecture series Heidegger: la question de l’Être et l’histoire. Taking the issue of historicity as the main interpretive thread, the paper argues that, in Derrida’s view, Heidegger’s position constitutes a significant progress with regard to mainstream philosophical tradition. For Heidegger, historicity is originary and non-ontic; conceiving of it in this way enables us to overcome the primacy of the present and the subjectivist metaphysical approach which authors such as Hegel and Husserl still display. The paper then reconstructs Derrida’s critique of the chapter on the historicity of Dasein in Being and Time, as well as his approach to the history of Being through the topic of the metaphor. The critical force of this reading will be supported by an analysis of some of Derrida’s later writings, which also enable us to sketch some possible avenues for future research, in particular on the relationships between writing and history and on Heidegger’s concept of Versammlung.
52. Studia Phaenomenologica: Volume > 17
Benjamin Delmotte Pour une phénoménologie de l’évidence esthétique
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If the idea of a phenomenological aesthetic evidence is far from being obvious, it may yet become necessary in the description of the aesthetic experience. For the way a work of art can imperiously impose on the viewer reveals a kind of power that may suggests that this evidence is more than just a subjective feeling. Although Husserl’s phenomenology doesn’t consider such an evidence, and although this concept may even be regarded as a contradiction—since evidence particularly characterizes the givenness of perceptive objects—we may yet find the conditions of possibility of such an aesthetic evidence in Husserl’s work.
53. Studia Phaenomenologica: Volume > 2 > Issue: 1/2
Jean-Luc Marion D’autrui à l’individu. Au-delà de l’éthique
54. Studia Phaenomenologica: Volume > 2 > Issue: 1/2
Françoise Dastur Écriture, mort et transmission: A propos de l’approche herméneutique de l’écriture
55. Studia Phaenomenologica: Volume > 2 > Issue: 1/2
Claude Romano Phénoménologie, herméneutique, scepticisme
56. Studia Phaenomenologica: Volume > 2 > Issue: 3/4
Delia Popa Identité et unicité: variations du moi
57. Studia Phaenomenologica: Volume > 2 > Issue: 3/4
Horaţiu Crişan Réduction et théorie transcendantale de la méthode dans la Sixième méditation cartésienne de fink
58. Studia Phaenomenologica: Volume > 2 > Issue: 3/4
Ion Copoeru Hétérogénéité et constitution du champ sensible singulier
59. Studia Phaenomenologica: Volume > 2 > Issue: 3/4
Natalie Depraz Qu’est-ce qu’une épochè naturelle?: Schütz, praticien de la phénoménologie
60. Studia Phaenomenologica: Volume > 2 > Issue: 3/4
Delia Popa Dominique Janicaud In memoriam (1937-2002)