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1. Phenomenology 2005: Volume > 4 > Issue: Part 2
Karel Novotný L’ouverture du champs phénoménal : la donation ou l’interprétation ?: Sur le problème de l’apparaitre comme tel chez Jan Patočka
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Jan Patočka made a tentative to renew phenomenology as an investigation of the appearance as such. This project should not only liberate the phenomenal field from certain « metaphysical closure » imposed on it by the construction of a transcendental subjectivity. The givenness of the sensible world with its possibilities for corporal activity is opposed also to Heidegger’s concepts of understanding and projection as another types of subjectivism. However, in the end, these kinds of « metaphysical closure » seems to be replaced by another one when Patočka looks for the ultimate foundation of the appearance in a « ground of the world ».
2. Phenomenology 2005: Volume > 3 > Issue: Part 2
Delia Popa Les marges du reel et la vie imaginaire
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The essay confronts the objective conception of reality with the phenomenological one in order to observe the implication of imagination in the constitution of our sense of the real. Though fantasy seems to be the opposite of the real perception, as Jean-Paul Sartre showed it in his book “L’imaginaire”, the paper argues, following the arguments of Maurice Merleau-Ponty, Henri Maldiney and Marc Richir – but also the ancient argument of Aristotle concerning the sensible appearance – that it participates in an active and necessary way at the subjective foundation of reality.
3. Phenomenology 2005: Volume > 3 > Issue: Part 2
Carole Talon-Hugon Dire l’ ‘être invisible du sentiment’: phénoménologie et littérature
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The fourth part of L’Essence de la manifestation is devoted to the sentiments and consitute a quite unique sort of treatise on the passions. Through the analysis of this text, I here show why, according to Michel Henry, scientific treatment of Descartes and the contemporary neurobiologists who are his heirs claim to submit the passions is necessarily mistaken ; why the traditional objectivistic discourses of ph are inevitably deficient ; and finally why Henry’s reflection on the sentiments finds at once its expression and fulfillment in literature.
4. Phenomenology 2005: Volume > 3 > Issue: Part 2
Nicoleta Szabo La genese de la visibilite et l’eff ort du corps: Konrad Fiedler, Edmund Husserl et Maurice Merleau-Ponty
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This essay proposes a phenomenological interpretation of Konrad Fiedler’s philosophy of art. He’s a Nineteenth century German philosopher who’s theory of visibility (die Sichtbarkeit) and body (der Leib) comprises, in many aspects, a phenomenological view avant la lettre. We compare Fiedler’s account of visibility with Husserl’s phenomenology of the visual representation and we argue that the artistic visibility and the activity of the body proposed by Fiedler may be considered as a phenomenological solution for the problem of artistic creation. Finally, we underline the conceptual affinity between Fiedler’s theory of the body implicated in the making of artistic works and the Merleau-Ponty’s own view of it.
5. Phenomenology 2005: Volume > 3 > Issue: Part 2
Laurent Perreau De la phénoménologie à l’ethnométhodologie: variétés d’ontologie sociale chez Husserl, Schütz et Garfinkel
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This article tries to distinguish several types of “social ontology,” i.e., several types of answers to the question of the essence of social reality. As phenomenology and the social sciences are both concerned with this problem, it seems interesting to follow the historical sequence that links Husserl’s transcendental phenomenology, Schutz’s theory of the lifeworld, and Garfinkel’s ethnomethodology. These theories help to identify or to illustrate tree types of social ontology: philosophical ontology, common and ordinary knowledge ontology, and sociological ontology.
6. Phenomenology 2005: Volume > 3 > Issue: Part 1
Natalie Depraz Attention et affection: la micro-genèse husserlienne de l’attention à la lumière des perspectives empiriques de Stumpf et de James, de Külpe et de Titchener
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Husserl’s genetic phenomenology is relied on to make sense of the emergence of attention such as it arises, on the one hand, from bodily gestures and, on the other hand, according to the hypothesis of attentionality as a modulation such as it has begun to be developed through the historical and contemporary contributions of psychology and neurobiology. We attempt to show how the static framework initially advanced is in continuity with the genetic logic that allows us to deepen the hypothesis in questions by confronting the empirical analyses of Stumpf, James, Kulpe, and Tichner.
7. Phenomenology 2005: Volume > 1 > Issue: Part 2
Tatsuya Nishiyama Retrait à traduire: (vers une confrontation entre Heidegger et Derrida)
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In the 1978 essay “Le retrait de la metaphore” – a text that constitutes a part of his well-known debate on the notion of metaphor with Paul Ricoeur – Jacques Derrida discusses the peculiar translatability of the French word “retrait.” It is a word that plays an important role in the French reception of Heidegger's thought, not only as a translation for “Entzug” (withdrawal, removal), but also as an indicator of the very translatability of Heidegger’s thought. This paper discusses the challenge proposed by Derrida to Heidegger’s thought on translation, on the basis of a reflection – and translation – of the word “retrait.” Derrida adopts a strategy of re-translating and counter-translating the word “retrait.” Such a praxis of (re- and counter-) translation is profoundly related to the movement of the “retrait” itself, which opens up a space for the general transformability in language and in the history of metaphysics.
8. Phenomenology 2010: Volume > 4
Ruud Welten L’âme cartésienne de la phénoménologie
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From the point of view of Husserlian philosophy, Descartes failed to arrive at a transcendental phenomenological subject. According to Husserl, Descartes’s cogito represents a psychological statement. Michel Henry maintains that Descartes’s “ego cogito ergo sum” implies a full phenomenological subject, not because of its transcendental disposition—on the contrary, because of its pure self-affection. Consciousness according to Henry is not “consciousness of something outside the self,” but the pure consciousness of being affected. This is the real kernel or soul of phenomenology, which can be understood as the Cartesian soul itself. Henry develops this argumentation not only through the formulation of the ego cogito but also by means of art. 26 of Descartes’s latest work, The Passions of the Soul. In this work, the relation between ‘actions’ and ‘passions’ is thought as an early attempt to establish a philosophy of consciousness. According to Henry, this remains fully neglected in the philosophies of Husserl and Heidegger. This not only implies a rehabilitation of the soul as phenomenological object, but also the recapture of phenomenology itself, which begins not with Husserl, but with Descartes.
9. Phenomenology 2010: Volume > 3
Jad Hatem L’image est la vie
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Even if life is, above all, a reality which feels itself and therefore does not need to exteriorize itself, it cannot explain itself otherwise than by objectifying itself. Understanding itself is radically different from affecting itself. And when life cannot reside in exteriority, it is ectopical (outside its place) through the image. In the Middle Age, imagining meant “giving form to a matter”. It is natural that to the psychic matter correspond a psychic form, which in the end builds a mental image. When we think an image whose matter alone is psychic (the form being enclosed in the extension), the result will be an exoplasma—that is to be found in fantastic literature.
10. Phenomenology 2010: Volume > 3
Paul Marinescu L’universalité comme « aspect productif de la temporalité » chez Hans-Georg Gadamer
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The present article deals with the problem of the universality of hermeneutics as it is addressed in Hans-Georg Gadamer’s work. After a brief genealogical discussion of the notion of universality, this paper will attempt to identify, by analyzing the « figure » of temporal distance (which is, according to Gadamer, a transcendental structure of the hermeneutical experience) a new and profound meaning of universality related to temporality. By considering it as « universalisation », the question of the universality of hermeneutics will be put not only in terms of a finitude constitutive for the human comprehension, but also associating it with time’s capacity to separate between understanding and misunderstanding, and thus to reveal « the thing itself ».
11. Phenomenology 2010: Volume > 3
Domenico Jervolino Le long dialogue de Ricoeur avec la psychanalyse freudienne
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The encounter with Freud stands at the core of Ricoeur’s philosophical itinerary. This paper intends to bring about what is at stake in this encounter not only through a second reading of the famous essay on Freud from 1965, but also by taking into account the Ricoeur’s work. Special attention is paid to his continuous effort to build an ethics of life as a free gift, to which we have to answer with gratitude and generosity, always being aware of the fact that the human being implies both activity and passivity and that any human capacity is accompanied and menaced by a form of incapacity. The key to the existence is then finitude, vulnerability, and unaccomplishment. The work of mourning, as taught by Freud, has to liberate us from the illusions of omnipotence and bring us back to the authentic awareness of the human condition. However, this final wisdom does not lead to an ascetic Stoical conception of living. On the contrary, it is the premise for attending joy, against both the enigma and the challenge of evil, by persevering in the fight against the evil spread throughout the world. It is a fight against what is painful or degrading to the humane character of humankind.
12. 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.
13. 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.
14. 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.
15. 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.
16. 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.
17. 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.
18. 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.
19. Studia Phaenomenologica: Volume > 16
Rolf Kühn Naissance mystique et divinisation chez Maître Eckhart et Michel Henry
20. 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.