“The Very Place of Apparition”: Derrida on Husserl’s Concept of Noema

2018 ◽  
Vol 48 (2) ◽  
pp. 209-232
Author(s):  
Pietro Terzi
Keyword(s):  
Lived Experience ◽  
Historical Perspective ◽  
The Other ◽  
Real Component ◽  
Fundamental Condition ◽  
The World ◽  
The Difference ◽  
The One ◽  
The Relationship ◽  
Shed Light

Abstract In Specters of Marx, Derrida suggests that the most fundamental condition of phenomenality lies in the ambiguous status of the noema, defined as an intentional and non-real component of Erlebnis, neither “in” the world nor “in” consciousness. This “irreality” of the noematic correlate is conceived by Derrida as the origin of sense and experience. Already in his Of Grammatology, Derrida maintained that the difference between the appearing and the appearance, between the world and the lived experience, is the condition of all other differences. Unfortunately, Derrida limits himself to a few self-evident remarks, without further elaborating. The aim of this paper is twofold: on the one hand, to contextualize Derrida’s interpretation of the noema from a theoretical and historical perspective; on the other hand, to show its effects on the early moments of Derrida’s philosophy. The result will shed light on a neglected issue in the relationship between deconstruction and phenomenology.

scholarly journals Violence in social memory intimate beliefs regarding operation storm in the Croatian and Serbian publics

2008 ◽  
Vol 19 (1) ◽  
pp. 43-68
Author(s):  
Gordana Djeric
Keyword(s):  
Social Relationships ◽  
Social Memory ◽  
The Other ◽  
Silence Suppression ◽  
Starting Point ◽  
The One ◽  
Performance Character ◽  
The Relationship ◽  
Shed Light ◽  
Manipulation Strategy

This text is part of a research conducted under the working title "What do we talk about when we are silent and what are we silent about when we are talking? - premises for the anthropology of silence about the nearest past." In the first part the author investigates the meaning of silence in the Croatian and Serbian press right before and during Croatia's Operation Storm. The ratio between silence, suppression of information and forgetting, on the one hand, and social memory, on the other, has been elaborated in the final part of the text by following reports about the anniversaries of Operation Storm in both Croatian and Serbian publics. The starting point lies in the belief that the phenomenon of silence (and suppression of information), being an immanent part of each discourse, represents an important factor in the creation of social relationships and system of value models, that it has important communication and cognitive functions and that the performance character lies in its essence. In short, silence makes it possible to form the prevailing image about this event, even if it does not construct it indirectly - through speech. The author has elaborated on the meaning of silence in the context of Operation Storm partly because studies about the breakup of Yugoslavia frequently mention silence as a manipulation strategy employed by some of the sides in the conflict (or analysts dealing with Yugoslav topics), while not a single study systematically investigates the semantic of silence and suppression of information in these conflicts. Most importantly, taking into account the frequency of direct silence in the newspaper discourse and rhetoric strategies that point at silence indirectly from the context and discourse, the author focuses on the relationship between the event (situation) and silence. In order to shed light on the way in which Operation Storm is remembered, i.e. forgotten, in the stakeholders' publics and political imageries, she follows the dailies - Vecernje Novosti Politika, Danas (Belgrade) - Vecernji List, Jutarnji List, Magazin supplement of the Jutarnji List (Zagreb), as well as texts about Operation Storm in weeklies such as the NIN and Vreme of Belgrade or Globus of Zagreb in the period between August 2, 1995 and mid-August 2006.

scholarly journals FOREST IN THE BASHKIRS' VIEW OF THE WORLD

2022 ◽  
pp. 33-40
Author(s):  
Ю. А. Абсалямова
Keyword(s):  
World View ◽  
Construction Materials ◽  
The Other ◽  
Aesthetic Perception ◽  
Food Protection ◽  
Other Hand ◽  
The World ◽  
Other World ◽  
The One ◽  
The Relationship

В статье анализируются особенности восприятия лесного пространства башкирами. На основе языковых, фольклорных материалов сделана попытка раскрыть различные аспекты взаимоотношений лес - человек, образ леса в картине мира башкир. Как и в большинстве традиционных культур, в целом мифологический образ леса носит отрицательный характер. В фольклоре он часто описывается как тёмный, мрачный, неизвестный, таящий опасности, противопоставляясь обжитому и освоенному пространству селений. Лесной пандемониум также представлен в основном отрицательными персонажами. В целом образ леса в традиционной картине мира башкир предстаёт довольно неоднозначным. С одной стороны - это категория, связанная с потусторонним миром, неизведанная, «чужая» территория. С другой - лес издавна являлся источником различных благ - в виде строительного материала, пушнины, различных продуктов питания, укрывал от врагов. The article analyzes the features of Bashkirs' perception of the forest space. On the basis of the materials of the epos, folklore, folk ideas, an attempt was made to reveal the various aspects of the relationship between forest and man, the image of the forest in Bashkirs' world view. As in most traditional cultures, the mythological image of the forest as a whole is negative. In folklore, it is often described as dark, gloomy, unknown, fraught with danger, being contrasted with the inhabited and developed space of the villages. The forest pandemonium is also represented mainly by negative characters. On the other hand, in the domestic perception forest is valued for the benefits derived from it: shelter, food, protection from enemies. In addition, Bashkirs, distinguished by a developed aesthetic perception and contemplative thinking, appreciated its beauty, which is also reflected in folklore. In general, the image of forest in the Bashkirs' traditional view of the world appears rather ambiguous. On the one hand, it is the category associated with the other world, unknown, «foreign» territory. On the other hand, the forest has long been a source of various benefits - in the form of construction materials, furs, various food products, and it sheltered them from enemies.

scholarly journals MEREFLEKSIKAN TUHAN DALAM PERSPEKTIF METAFISIKA, DAN RELEVASINYA BAGI MULTIKULTURALISME INDONESIA

2018 ◽  
Vol 16 (8) ◽  
pp. 3-18
Author(s):  
Agustinus Wisnu Dewantara
Keyword(s):  
Human Mind ◽  
The Other ◽  
Human Language ◽  
Relationship With God ◽  
Human Thought ◽  
The World ◽  
The One ◽  
Analogical Approach ◽  
Human Intellect ◽  
The Relationship

Talking about God can not be separated from the activity of human thought. Activity is the heart of metaphysics. Searching religious authenticity tends to lead to a leap in harsh encounter with other religions. This interfaith encounter harsh posed a dilemma. Why? Because on the one hand religion is the peacemaker, but on the other hand it’s has of encouraging conflict and even violence. Understanding God is not quite done only by understanding the religion dogma, but to understand God rationally it is needed. It is true that humans understand the world according to his own ego, but it is not simultaneously affirm that God is only a projection of the human mind. Humans understand things outside of himself because no awareness of it. On this side of metaphysics finds itself. Analogical approach allows humans to approach and express God metaphysically. Human clearly can not express the reality of the divine in human language, but with the human intellect is able to reflect something about the relationship with God. Analogy allows humans to enter the metaphysical discussion about God. People who are at this point should come to the understanding that God is the Same One More From My mind, The Impossible is defined, the Supreme Mystery, and infinitely far above any human thoughts.

scholarly journals Poetic Storytelling in Contemporary Photography. Relation to Nature and the Poesis of Everyday Life in Works of Selected Artist in Iceland and Other Nordic Countries

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 129
Author(s):  
Sigrún Alba Sigurðardóttir
Keyword(s):  
Everyday Life ◽  
Nordic Countries ◽  
The Other ◽  
The Past ◽  
The World ◽  
Phenomenological Perspective ◽  
The One ◽  
Climate Crisis ◽  
The Relationship ◽  
Narrative Medium

The past 20 years have seen a shift in Icelandic photography from postmodern aesthetics towards a more phenomenological perspective that explores the relationship between subjective and affective truth on the one hand, and the outside world on the other hand. Rather than telling a story about the world as it is or as the photographer wants it to appear, the focus is on communicating with the world, and with the viewer. The photograph is seen as a creative medium that can be used to reflect how we experience and make sense of the world, or how we are and dwell in the world. In this paper, I introduce the theme of poetic storytelling in the context of contemporary photography in Iceland and other Nordic Countries. Poetic storytelling is a term I have been developing to describe a certain lyrical way to use a photograph as a narrative medium in reaction to the climate crisis and to a general lack of relation to oneself and to the world in times of increased acceleration in the society. In my article I analyze works by a few leading Icelandic photographers (Katrín Elvarsdóttir, Heiða Helgadóttir and Hallgerður Hallgrímsdóttir) and put them in context with works by artists from Denmark (Joakim Eskildsen, Christina Capetillo and Astrid Kruse Jensen), Sweden (Helene Schmitz) and Finland (Hertta Kiiski) artists within the frame of poetic storytelling. Poetic storytelling is about a way to use a photograph as a narrative medium in an attempt to grasp a reality which is neither fully objective nor subjective, but rather a bit of both.

The Effect of Waking Suggestion on Post-Hypnotic Amnesia

1981 ◽  
Vol 11 (1) ◽  
pp. 44-46 ◽  
Author(s):  
D.P. Fourie
Keyword(s):  
Point Of View ◽  
The Other ◽  
Hypnotic Susceptibility ◽  
The Subject ◽  
The Mean ◽  
The Difference ◽  
The One ◽  
The Relationship ◽  
Female Subjects

It is increasingly realized that hypnosis may be seen from an interpersonal point of view, meaning that it forms part of the relationship between the hypnotist and the subject. From this premise it follows that what goes on in the relationship prior to hypnosis probably has an influence on the hypnosis. Certain of these prior occurences can then be seen as waking suggestionns (however implicitly given) that the subject should behave in a certain way with regard to the subsequent hypnosis. A study was conducted to test the hypothesis that waking suggestions regarding post-hypnotic amnesia are effective. Eighteen female subjects were randomly divided into two groups. The groups listened to a tape-recorded talk on hypnosis in which for the one group amnesia for the subsequent hypnotic experience and for the other group no such amnesia was suggested. Thereafter the Stanford Hypnotic Susceptibility Scale was administered to all subjects. Only the interrogation part of the amnesia item of the scale was administered. The subjects to whom post-hypnotic amnesia was suggested tended to score lower on the amnesia item than the other subjects, as was expected, but the difference between the mean amnesia scores of the two groups was not significant.

Between Story and Narrated World: Reflections on the Difference between Homo- and Heterodiegesis

2014 ◽  
Vol 8 (2) ◽  
Author(s):  
Simone Elisabeth Lang
Keyword(s):  
Present Article ◽  
Literary Studies ◽  
Textual Interpretation ◽  
Different Types ◽  
The Difference ◽  
The One ◽  
The Relationship ◽  
Special Case ◽  
Shed Light ◽  
Theoretical Standpoint

AbstractIn describing the position of the narrator, research in literary studies generally follows Gérard Genette’s pioneering theory of narrative in distinguishing between the homo- and heterodiegetic type of narrator. This categorization is not sufficient to allow the position of the narrator to be described properly. The different ways in which the terms are used in literary studies reveal a shortcoming in the distinction behind them. Even in Genette’s work, there is a contradiction between the definition and the names of the two categories: Genette defines homo- and heterodiegesis with reference to the narrator’s presence in the narrated story, whereas he elsewhere states that the diegesis (in the sense of FrenchThe present article aims to do just that, starting from a theoretical standpoint. Thus, the different types of narrator that are possible are sketched in outline, and then explained with the help of examples.I begin by exposing the problems that result from using the terms in Genette’s manner (1), in order then to develop a list of possible narratorial standpoints based on the one hand on the involvement of the narratorial instance in the narrated world and on the other on its involvement in the story. By establishing separation of the two aspects as a ground rule in this way, a number of misunderstandings that are due to the varied ways in which the terminology has been used to date can be overcome.There follows a description of those cases that are unambiguously hetero- and homodiegetic (2), after which the problematic cases are considered (3), yielding the different types of homodiegetic narration that are possible. This latter set of distinctions will, like the others, shed light on the contours of the different narratorial positions and thus be capable of being put profitably into practice in textual interpretation. Accordingly, what is suggested is a way of using the terms that is first unambiguous and second beneficial to the interpretation of works, thus doing justice to the heuristic importance of narratology (see Kindt/Müller 2003; Stanzel 2002, 19).Thus, whereas the concept of diegesis provides the foundation for a distinction based on an ontological criterion that divides homo- and heterodiegesis from each other, the relationship between story and narrator is used to describe various types of homodiegetic narration. In the process, there come to light two types that are distinguished from each other by involvement in events (›homodiegetic, in the story‹ and ›homodiegetic, not in the story‹ narrators). If the narrator is not involved in events, the question arises of whether it would in principle have been possible for him to be involved in events, which is the norm with ›homodiegetic, not in the story‹ narrators, or whether a physical impossibility is the reason for his lack of involvement in the story. A special case of the ›homodiegetic, not in the story‹ narrator can be derived from this: peridiegetic narration: whereas narratorial instances of the ›homodiegetic, in the story‹ and ›homodiegetic, not in the story‹ types could in principle have been involved in the action and those of the ›homodiegetic, in the story‹ type actually were, peridiegetic narrators are marked by the fact that they cannot have been involved in the events.In summary, it will be shown that the concept of homodiegesis – in particular in the form in which it has previously been used, where links with the action and appearance in the story were not kept distinct – is in effect an umbrella term that brings together a number of possible forms. There is a prominent distinction between the ›homodiegetic, in the story‹ and the ›homodiegetic, not in the story‹ types of narrator (these types are represented in the present article by the old lawyer in Leo Perutz’s »The Beaming Moon« and the narrator who is a friend of Nathanael in E. T. A. Hoffmann’s »Sandman« respectively). The different degrees of homodiegetic narrator, which have often been mentioned in previous research and are defined by the strength of the character’s presence in the narrated world (from an uninvolved witness to an autodiegetic protagonist), are also to be situated between these two poles.It will also be shown in the process that the case of the narrator who is, for reasons of physical difference, not involved in events (the peridiegetic narrator) should be treated as a form of homodiegesis (for instance the schoolmaster in Theodor Storm’s

‘Abd al-Qādir al-Marāghī and ‘Alī b. Muḥammad Binā'ī: two fifteenth-century examples of notation Part 2: Commentary

1995 ◽  
Vol 58 (1) ◽  
pp. 17-39
Author(s):  
O. Wright
Keyword(s):  
Fifteenth Century ◽  
The Other ◽  
Text Setting ◽  
Musical Practice ◽  
Reliable Evidence ◽  
History Of ◽  
The One ◽  
History Of Composition ◽  
The Relationship ◽  
Shed Light

Part 1 of this paper was concerned principally with the various problems that confront any attempt to provide a satisfactory transcription of these two examples. Given the nature of the difficulties encountered, it is clear that any generalizations we might wish to derive from them can only be tentative and provisional. Nevertheless, the paucity of comparable material, which on the one hand renders the interpretative hurdles all the more difficult to surmount, on the other makes the urge to draw at least some conclusions from the material provided by ‘Abd al-Qādir al-Marāghī and Binā'ī well-nigh irresistible. Such conclusions would involve, essentially, an assessment of the extent to which their notations shed light on the musical practice of the period and provide reliable evidence for the history of composition and styles of textsetting. But in any evaluation of this nature it is essential to avoid the temptation to confuse the sources with the speculative editorial interventions that produce the versions presented in part 1 (exs. 26–8 and 30). The area about which least can be said with regard to the naqsh notated by Binā'ī is, therefore, the nature of the text-setting, while with regard to ‘Abd al-Qādir al-Marāghī's notations it is, rather, the first topic we may consider, the relationship between melody and the underlying articulation of the rhythmic cycle.

THE UNIFICATION OF THE GLOBE BY DISEASE? THE INTERNATIONAL SANITARY CONFERENCES ON CHOLERA, 1851–1894

2006 ◽  
Vol 49 (2) ◽  
pp. 453-476 ◽  
Author(s):  
VALESKA HUBER
Keyword(s):  
Nineteenth Century ◽  
The Other ◽  
Institutional Changes ◽  
Scientific Medicine ◽  
Semipermeable Membranes ◽  
Other Hand ◽  
The World ◽  
The One ◽  
Shed Light

This article analyses the proceedings of eight International Sanitary Conferences which were convened between 1851 and 1894 to address the danger that cholera epidemics posed to Europe. These conferences are examined in the context of the intellectual and institutional changes in scientific medicine and in the light of the changing structure of internationalist endeavours that took place in the second half of the nineteenth century. The article shows that the International Sanitary Conferences were as much spaces of co-operation as they were arenas where differences and boundaries between disciplines, nations, and cultures were defined. Furthermore, it seeks to shed light on a broader tension of the period. On the one hand, the fact that the world was growing together to an unprecedented extent due to new means of transportation enabled Europeans to establish and expand profitable commercial and colonial relations. On the other hand, this development increased the vulnerability of Europe – for example to the importation of diseases. The perception that the world was becoming increasingly interconnected was thus coupled with the need for controllable boundaries. The conferences attempted to find solutions as to how borders could be secured without resorting to traditional barriers; like semipermeable membranes they should be open for some kinds of communication but closed for others.

scholarly journals Metaphor in Funny Language

2018 ◽  
Vol 222 (1) ◽  
pp. 13-24
Author(s):  
Asst. Instructor: Ayad Enad Khalaf
Keyword(s):  
Everyday Life ◽  
Written Language ◽  
The Other ◽  
The World ◽  
Long Time ◽  
New Ideas ◽  
Life Education ◽  
The One ◽  
Relationship Of ◽  
The Relationship

This article highlights different ways of metaphorical use in language and shows its potential in attracting the readers' attention. Language as a biological being lives its own life witnessing never-ending changes: falling outs and newly built elements. We enrich our language not only by new elements but also by new styles and reusing of existing sources. One of these ways which makes language more alive and active is metaphor. Metaphor nowadays is found in all the fields of life, education, medicine, policy and everyday life. Metaphor, in fact, reflects the relationship of language to culture and the world of ideas. Language, on the one hand, is a repository of culture; the traditions, proverbs, and knowledge of our ancestors. On the other hand, language is the mirror of the world of ideas. People reflect their new ideas in using language in new ways, even such devices as paintings and riddles. Metaphor has many shapes and is found in spoken and written language, graphics, cartoon or caricature, riddles, jokes and paintings to express novel shades of meanings, e.g., metaphor in newspaper photos, magazines or even in advertisements attracts the attention of readers and are memorized for a long time. Metaphoric use is also a way of enjoying the readers. It is used for both real and logical aims such as; warnings, advises, or invitations ...etc

scholarly journals Ontological Machinery of the Artistic Process: the Becoming-Technical and Art

TECHNOLOGOS ◽  
2020 ◽  
pp. 88-98
Author(s):  
Tcyrlina Yana
Keyword(s):  
Modern Art ◽  
The Other ◽  
Dual Purpose ◽  
Artistic Process ◽  
Works Of Art ◽  
Urgent Task ◽  
The Difference ◽  
The One ◽  
Final Question ◽  
The Relationship

This article pursues dual purpose. On the one hand, the author analyzes the general and the most important in the technical being since only therewith it is possible to conceptualize the sphere of technical objects and to determine the place of technics with respect to the art. So the article is devoted to new ontological opportunity of the technics’ entity perception by its connection with art. This relationship we consider in the context of “technological revolution” in the art. Moreover, it has been tried to be revealed possible mechanisms of technics emancipation with the help of the art and to be shown that technology can emancipate the art using both artistic techniques and inartistic technological processes. On the other hand, the aim of our article is to provide with a presentation of some onto technological key ideas, along with some conceptual approaches (for example, Levis Brуant’s onto-cartography) which we can distinguish by their further connection with the modern art. Conception of ontology in the terms of technics by all means has become the urgent task for philosophy, and one of the ways to solve this task is to investigate the relationship between ontology and technics. The author of the article argues that the confrontation between nature and technology is an illusion. We tried to complete this argument combining the ontology of nature and of technology in one concept – the concept of machine. Recently most works of art have become technological objects revealing the problem of “technical” art. In the article it is proposed the analysis of some modern works of art and is demonstrated that “the nature” and technics cannot be no more opposed and differentiated since one gives birth to another. Moreover, it is existed only techno-nature and its production (in the difference of repetition and creation) is the final question of techno-art.

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