Displaying: 101-120 of 202 documents

0.195 sec

101. Studia Phaenomenologica: Volume > 6
Alain Beaulieu La dette calculée de Derrida envers Lévinas
abstract | view |  rights & permissions
Derrida’s intellectual itinerary shows a progressive reconciliation with Lévinas’ ethical thinking. “Violence and Metaphysics”, one of Derrida’s earlier essays, was highly critical of Lévinas’ “phallotheology”, whereas his later works were more receptive to the Levinasian analysis on hospitality, “cities of refuge” (villes-refuges) and justice. This essay will discuss the mutual terminological exchanges between Derrida and Lévinas as well as some divergences between the two thinkersregarding the deconstruction project. Finally, we will see how Derrida distinguishes himself from Lévinas’ ethics by bringing an end to the search for the conditions of possibility of experience in favour of a more radical experience of the impossible and the inconditional.
102. Studia Phaenomenologica: Volume > 6
Attila Szigeti L’autre temps: Lévinas et la phénoménologie husserlienne du temps
abstract | view |  rights & permissions
This paper attempts to show that the diachronic temporality introduced in the second major work of Levinas is profoundly influenced by the genetic dimension of the Husserlian account of time. It is argued that the different phenomena of this genetic-diachronic temporality, like the past which was never present, the originary retention, and the unpredictable present, are sustaining not just the central idea of Otherwise than being, that of an originary ethical subject, but alsothe description of the relation with the other, and the phenomenology of language present in this work.
103. Studia Phaenomenologica: Volume > 7 > Issue: Special
Cristian Ciocan Orcid-ID Emmanuel Lévinas et sa réception en Roumanie
104. Studia Phaenomenologica: Volume > 7 > Issue: Special
Delia Popa Entre ontologie et phénoménologie: l’avènement de l’altérité
105. Studia Phaenomenologica: Volume > 7 > Issue: Special
Alain David Lévinas, entre l’allemand et le français
106. Studia Phaenomenologica: Volume > 7 > Issue: Special
Emmanuel Lévinas, Christoph von Wolzogen, Alain David L’intention, l’événement et l’Autre
107. Studia Phaenomenologica: Volume > 7 > Issue: Special
Yasuhiko Murakami La demeure, un autre «autrement qu’être»: Lévinas et la psychopathologie
108. Studia Phaenomenologica: Volume > 7 > Issue: Special
Gaëlle Bernard « La vérité suppose la justice »: L’exercice éthique de la philosophie selon Levinas
109. Studia Phaenomenologica: Volume > 7 > Issue: Special
Fabrice Duclos La genèse phénoménologique d’une expérience de la mort chez Lévinas
110. Studia Phaenomenologica: Volume > 7 > Issue: Special
Matthieu Dubost Le langage incarné selon Emmanuel Lévinas
111. Studia Phaenomenologica: Volume > 7 > Issue: Special
Renato Boccali Au-delà du toucher: la caresse
112. Studia Phaenomenologica: Volume > 7 > Issue: Special
Georges Hansel Levinas et la technique
113. Studia Phaenomenologica: Volume > 7 > Issue: Special
Laura Marin Penser le neutre: Blanchot, Levinas
114. Studia Phaenomenologica: Volume > 7 > Issue: Special
Cristian Ciocan Orcid-ID Les repères d’une symétrie renversée: La phénoménologie de la mort entre Heidegger et Lévinas
115. Studia Phaenomenologica: Volume > 8
Marc Richir Phénoménologie de l’élément poétique
abstract | view |  rights & permissions
As a development of his former researches on speech – that he distinguishes from instituted language and that he identifies to thought – the author points out a special kind of fantasy, already observed by Husserl himself: the perceptive Phantasie. Analysed here as a form of transition from perception (Perzeption) to what is impossible to be represented (l’infigurable), this form of fantasy aims at what Winnicot understood as a transitional object. Preceding any intentional and even imaginary foundation (Stiftung), the perceptive Phantasie is the very core of speech, that poetry allows us to see as the living form of transcendental interfacticity. The perceptive Phantasie is thus the concrete condition of the “reflexivity” of meaning, which is accomplished in speech by a mutual affectivity, perception nourishing itself from the virtual.
116. Studia Phaenomenologica: Volume > 8
Jean-Baptiste Dussert Le primat de la description dans la phénoménologie et le Nouveau Roman
abstract | view |  rights & permissions
The point shared by phenomenology and the French Nouveau Roman is that they both confer great importance to description. But is it philosophically interesting to compare the works of authors like Nathalie Sarraute, Alain Robbe-Grillet or Claude Simon (which relate to details in the material world) with the works of Husserl (whose object is the eidos)? In this article, we first study in what way the method suggested by Husserl was innovative and in what way it influenced his examples and style in the Ideen. We then examine how the fact that this operation no longer relates to beings could be construed as progress in relation to Heidegger. Finally, we study the reasons why this mode of speech was favoured in the novels of the 1960s. Our assumption, as the later writings of Maurice Merleau-Ponty show, is that this literary move­ment tried to achieve in the field of fiction the same breakthrough and to give description a scientific quality.
117. Studia Phaenomenologica: Volume > 8
Roland Breeur Lazare au royaume de l’Hadès: Réflexions autour d’un poème de Luis Cernuda
abstract | view |  rights & permissions
In this article, the author analyses Cernuda’s long poem “Lazaro”, in order to elucidate the inner relation between desire and reality that is central in his entire work. That relation is important not only in order to understand how imagination influences poetical creation, but also how poetical creativity acquires its autonomy and independency.
118. Studia Phaenomenologica: Volume > 8
Jad Hatem Phénoménologie de l’image poétique
abstract | view |  rights & permissions
The poetic image results from the effort undertaken by affectivity to express itself in a language that is not originally its very own, but that holds the advantage of being communicable not only at the level of representation, but at the level of feeling as well. The image is not considered, therefore, to be a synthesis of true and false. In the process of creation, the affect is the material principle of the image as an ideal unity of syntheses. It is implied here that poetic writing is not about a content of internal aiming, previously possessed by consciousness, that is made to correspond with an element of the world, even­tually represented by means of sensible intuition. In order to illustrate this, the author interprets a poem by Nadia Tueni, showing that it is essentially about its own production.
119. Studia Phaenomenologica: Volume > 8
Olivier Lahbib L’oubli du monde: Une lecture finkienne de Bret Easton Ellis
abstract | view |  rights & permissions
In his novels B. E. Ellis depicts a generation of bewildered rich young people, who live the easiest of lives, in a wealthy background as one can see in everyday American shows. But they actually suffer from the excess of things, products, luxury; the result for them is that the overall meaning of life is lost. Fink’s phenomenology gives us the interpretation for this nihilistic experience. Humanity is depressed as far as the world is forgotten. Forgetting the world is even more scandalous and serious than the disregard of Being that Heidegger condemns. B. E. Ellis applies the method of reduction: he makes the epoché of the container-world. Consequently, we learn that the idea of the world is the condition for unity, coherence and direction as shows Fink’s Welt und Endlichkeit: Humanity when devoid of the totality (as a synonym for world) is absolutely devoid of meaning. The Cosmos-container comes before Being or the beings (as simple contents). World is the radical source for all data. With the arguments of Fink’s book Spiel als Weltsymbol, we may understand why Ellis’ characters strain to rebuild a world, with their new religion of trade marks and name dropping. But holy objects of consumption and luxury can’t produce an authentic world.
120. Studia Phaenomenologica: Volume > 8
Claude Romano La consistance de l’imaginaire
abstract | view |  rights & permissions
This paper tries to explore the legitimacy of applying the phenomenological approach to poems, novels, to all that we classify, too conveniently, under the term “literature.” Such an approach is grounded in one claim: the literary text opens up to a world that is its “thing itself”. The thing of the text is not the text as a thing, in its linguistic and formal properties, no more than the thing of the painting is the canvas coated with pigments. However, what is the status of such a “world”? Is this “opening of a world” only a metaphor? Is the world of the literary work only an imaginary one? In order to answer these questions, it is necessary, first of all, to understand the limits of the structuralist claim that the object of literature is only literature as an object, that is as a linguistic construction and, secondly, to be aware of what is specific to the phenomenological account of the imaginary, in contrast with alternative accounts, such as the one grounded in the theory of speech acts and developed, among others, by Searle.