orbit and far beyond it. Indeed, the immense, painstaking, indefatigable and ever-improving effort of Husserl to find ever-deeper and more reliable foundations for the philosophical enterprise (as well as his constant critical re-thinking and perfecting of the approach and so called "method" in order to perform this task and thus cover in this source-excavation an ever more far-reaching groundwork) stands out and maintains itself as an inepuisable reservoir for philosophical reflec tion in which all the above-mentioned work has either its (...) core or its source. In fact, in his undertaking to re-think the entire philosophical enterprise as such and to recreate philosophy upon what he sought to be at least a satisfactorily legitimated basis, Husserl, through his already systematised and "authorized" work, and his courses, and later on in his spontaneous reflection (which did not find its way into a definitive corpus but was nevertheless sufficiently coherent with his previously established body of thought to be considered a continuation of it), uncovers perspectives upon the universe of man and projects their new philosophical thematisation that brings together all the attempts by philosophers (e. g., Merleau-Ponty, who drew upon this material and found there his own inspiration) who succeeded him with foundational intentions; it also gives a core of philosophical ideas and insights for the youngergenerationofphilosophers today. (shrink)

In her introduction to this collection, Tymieniecka presents her phenomenology of life - the leitmotif of the three-volume anniversary publication of Analecta Husserliana - as something that stands out from preceding historical attempts to investigate life in an 'integral' or 'scientific' way. After an incubation lasting throughout the 2000 years of Occidental philosophy, this scientific phenomenology/philosophy of life at last uncovers the entire area of the 'inner workings of Nature', exposing the way in which the 'sufficient reason' and (...) the 'ground' of beingness as such crystallise out of the 'onto poietic' process. This onto-poietic process, continuing as it does in the human creative condition, also reveals the authentic genius of the works of the human spirit. This new and original philosophy, free of fallacious simplifications, speculations and reductionism, opens up a basic starting point for all philosophy. Life, 'the theme of our times', at last receives a profound philosophical treatment. (shrink)

In the final years of his life, the Belgian phenomenologist Marc Richir started to question if philosophical writing would become pointless when artists, great poets for example, have already achieved so well what philosophers have always aspired to achieve. There is no doubt that Richir considers himself in alliance with artists, since he basically believes that “phenomenology is trying to say the same thing as poets or musicians, or even possibly painters, but with philosophical language”. He seems thereby to (...) imply that phenomenology is destined to become self-aware as a sort of art. There is no surprise in this regard if we notice how frequently, throughout his entire career of philosophical production, he employs the Kantian term of the sublime to express what constitutes the phenomenon as nothing but phenomenon. This article goes through his phenomenological interpretation of Kantian aesthetics, his elaboration of the affinity between phenomenology and art, and then his genealogical conception of art, in order to introduce an original thought on what he calls “the moment of the sublime”. (shrink)

Does thought have distinctive experiential features? Is there, in addition to sensory phenomenology, a kind of cognitive phenomenology--phenomenology of a cognitive or conceptual character? Leading philosophers of mind debate whether conscious thought has cognitive phenomenology and whether it is part of conscious perception and conscious emotion.

This paper aims to pay tribute to Figal’s comprehensive and innovative analysis of the artwork and beauty, while challenging both his realist position on the immediacy of meaning and his monist stance that reduces sublimity to beauty. To enquire into the origin of aesthetic feelings and sense, and thus, to break the hermeneutic circle, we first trace the origin of this reduction to the reception of Burke’s concept of the sublime by Mendelssohn and Kant. We then recur to Husserl and (...) Dufrenne to trace the origin of the sense of the feeling of sublimity in the realm of affectivity or sensuousness. This genesis takes place in passive experience, where we identify an excess of sensuous sense over categorial meaning that is constitutive of the affective sense that our bodily sensations give to hyletic material. It is argued that this sensuous excess evokes a sublime experience in the phenomenological sense, involving an affective and disruptive bodily experience and an endless process of sense formation. Affective or sensuous sense is thus an event that irreversibly affects the bodily surface. To elucidate this phenomenon, we draw on the theoretical framework of Breton and Bataille, positing it as a form-transgressive ‘convulsive’ sublime, which we then illustrate in the architectural works of Tschumi and Eisenman. In short, we have retrieved the origin of aesthetic experience and redefined the feeling of the sublime as a phenomenological ‘convulsive’ sublimity. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the (...) visible: the essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

Our in-the-moment experience of the world can feel vivid and rich, even when we cannot describe our experience due to limitations of attention, memory or other cognitive processes. But the nature of visual awareness is quite sparse, as suggested by the phenomena of failures of awareness, such as change blindness and inattentional blindness. I will argue that once failures of memory or failures of comparison are ruled out as explanations for these phenomena, they present strong evidence against rich awareness. To (...) accommodate and explain these massive failures of awareness, any theory of phenomenal consciousness must downgrade phenomenology to a degree where it is functionless or, ironically, does not reflect what we experience. (shrink)

This paper examines the relationship of Jean-François Lyotard’s aesthetics to phenomenology, especially the works of Mikel Dufrenne and Maurice Merleau-Ponty. It argues that this comparison allows a greater understanding of Lyotard’s late aesthetic writings, which can appear gnomic and which have received relatively little critical attention. Lyotard credits Merleau-Ponty with opening the theme of difference in the aesthetic field, yet believes that the phenomenological approach can never adequately account for it. After outlining Lyotard’s early critiques of Dufrenne and Merleau-Ponty, (...) the paper will demonstrate how his late aesthetics can be understood as returning to phenomenological themes but in the form of a reversal. Lyotard’s “lesson of darkness” is that the secret power of art can never be brought into the light of phenomenal appearance, and that artworks do not testify to the birth of perception, but to its death and resurrection. (shrink)

Can phenomenologists allow for the existence of unobservable entities such as atoms, electrons, and quarks? Can we justifiably believe in the existence of entities that are in principle unobservable? This paper addresses the relationship between Husserlian transcendental phenomenology and scientific realism. More precisely, the focus is on the question of whether there are basic epistemological principles phenomenologists are committed to that have anti-realist consequences with respect to unobservable entities. This question is relevant since Husserl’s basic epistemological principles, such as (...) the “principle of all principles,” seem to suggest that epistemic justification is limited to what can be originally given in the sense that if an object cannot be given in an originary presentive intuition, then one cannot be justified in believing that this object exists. It is the main aim of this paper to show (i) that interpretative reasons exist for not reading Husserl in such a way and (ii) that systematic reasons exist as to why phenomenologists should not subscribe to this criterion. I shall put forward a different criterion of justification that satisfies the spirit of Husserlian transcendental phenomenology and allows for justifiably believing in the existence of unobservable scientific entities. (shrink)

What does it mean to adopt a phenomenological approach when doing philosophy of perception? And what form should such an approach take? I address these questions by first distinguishing three different ways of drawing philosophical conclusions based on phenomenological reflection: 'Humean' phenomenology, which attempts to discern the structure of perceptual experience via reflection on its surface properties; 'Kantian' phenomenology, which aims to provide a priori arguments about the structure perceptual experience must have if it is to possess universally (...) agreed upon manifest properties; and 'Husserlian' phenomenology, which aims to achieve an intuitive grasp of the essential properties of perceptual experience via attempted imaginative variation of its aspects and properties. Drawing on arguments from Merleau-Ponty, I then argue that the shortcomings of each of these approaches motivate a 'Merleau-Pontian' conception of phenomenology as 'radical reflection' - a mode of reflection on perceptual experience that simultaneously attempts to understand the origins and authority of reflection itself. The methodology for philosophy of perception that results is a thoroughly interdisciplinary one, aiming to reconcile philosophical conclusions about the necessary structures of perceptual experience with our best empirical knowledge of the bodily, psychological, cultural and historical contingencies that shape both our experiences and our reflective capacities. (shrink)

Bu çalışmanın amacı, fenomenoloji ile fenomenolojik yöntemin ne olduğunun ve neyi hedeflediğinin varlık ve bilgi problemlerinden hareketle incelenmesidir. Husserl, fenomenoloji felsefesini Avrupa bilimler krizinin neden olduğu felsefesizliğe bir tepki olarak geliştirmiştir. Fenomenolojinin hedefi, bilince verili olan fenomenleri çözümlemektir. Fenomenoloji şeyler hakkında değil, onların kendilerini gösterme biçimleri hakkında konuşur. Fenomenolojik yöntem fenomenolojik tavırla başlar, yönelimsellikle de devam eder. Fenomenolojik yöntem araştırmasını daha sonra fenomenolojik epoke, fenomenolojik redüksiyon, fenomenolojik refleksiyon ve fenomenolojik betimleme ile sürdürür. Bu süreçte bilincin ulaştığı özler, üzerlerine bilginin temellendirileceği (...) immanent özlerdir. Fenomenolojik ontolojide bir töz metafiziği yapılmaz, varlığın nasıl doğru okunup bilinebileceği aracısız ve nedensiz olarak araştırılır. Fenomenolojik epistemolojide ise bilginin temeli araştırılarak bilginin nasıl mümkün olduğu açıklığa kavuşturulur. Böylece fenomenoloji felsefesi hem Kartezyen felsefenin hem de determinizm, empirizm ve pozitivizmin aksine özne ve nesneden birini diğerine indirgemeyerek bilince verili olan fenomenlerin anlamını kendine özgü ve özel bir yöntemle açıklığa kavuşturmaktadır. (shrink)

Bipartism is the common view that the nature of an intentional state can be wholly explained in terms of (a) its horizontal relations with other such states (as well as peripheral inputs and outputs); and (b) its vertical relations with the world. Extrapolating from Nagel, I try to show that bipartism is fundamentally mistaken. Some intentional states are conscious states, and thus there is something it is like to be in them. This phenomenology is of a piece with such (...) states’ interpretability: to know what it is like to be X at least involves being able to interpret X’s conscious intentional states. But a bi‐partist account of an intentional state is not, by itself, interpretational. So bipartist accounts, at least of conscious intentional states, are incomplete: they fail to capture their phenomenology. (shrink)

Hermann Schmitz has developed a “New Phenomenology.” It emphasizes fundamental conceptions that undercut traditional subject-object distinctions. In the Chinese classic The Zhuangzi we find stories that describe involvements and dialogue that can be seen as doing something similar. I will bring out some of these parallels. In particular I will focus on freedom and mutual understanding.

This monograph has three purposes. It attempts first to describe in general terms methods of investigation proper to strict phenomenology and to new rhetoric. Second, it describes certain recent developments by the author that lead to a de-projective approach to phenomenology and which are of potential significance in a variety of areas of study, including new rhetoric. Finally, suggestions are made with a view to bringing portions of rigorous phenomenology into close connection with certain of the basic (...) concerns of new rhetoric. (shrink)

This paper focuses on the phenomenology of timeless awareness.

This paper focuses on the phenomenology of awareness as natural liberation.

This paper focuses on the phenomenology of the manifestation of awareness.

Opening with a consideration of the methodological stakes, the paper examines, in a preparatory way, the phenomenon of the startle as a limit case for phenomenological analysis. Taking a bearing from a traditional Husserlian schema, the analysis quickly finds itself twisting and turning, contorting the received phenomenological method in order to remain with the phenomenon. Elements of Heidegger’s “fundamental analysis of Dasein” are also tried out, but similarly find themselves dislocated by the peculiar phenomenological content of the startle. Thus unsettling (...) the basic structures of phenomenology and temporality, the paper concludes by setting the scene for an encounter with Levinas’ perturbing notion of the il y a. (shrink)

This paper focuses on the phenomenology of awareness and the second reduction.