scholarly journals Negative Moods as the Only Possible Locus of Ontological Experience

Problemos ◽  
2020 ◽  
Vol 98 ◽  
pp. 83-93
Author(s):  
Leo Luks
Keyword(s):  
Conscious Experience ◽  
Intentional Object ◽  
Human Existence ◽  
Ontological Difference

This article is a Heideggerian inquiry into the possibility of ontological experience, that is, the possibility of experiencing the ontological difference, something wholly distinct from beings. Heidegger, as we know, articulated this as the question of Being. It is a paradoxical question that cannot, at first sight, be answered phenomenologically (in the Husserlian style): if any conscious experience presupposes the constitution of an intentional object in the act of experience, there must be something in any experience.In this article, I set out to defend the position that ontological experience is possible and central to the human existence. This view rests on the Heideggerian notion of the affective grounds of all thinking, the attunement of any experience by moods. I will argue that: 1) any thinking is attuned by moods; 2) ontological experience (i.e. experiencing something wholly distinct from beings) occurs in certain negative moods. 3) ontological experience is possible only through failure, a malfunction in the fulfilment of meaning; 4) ontological experience is possible in art rather than in science (or in some rigorous philosophy).

scholarly journals Semantics and poetics of the motif of voice in Gaito Gazdanov’s 1920-30 small prose: “Transformation” and “The disappearance of Ricardy”

2020 ◽  
Keyword(s):  
Intentional Object ◽  
Human Existence ◽  
Semantic Structure ◽  
System Evolution ◽  
Dynamical Integrity ◽  
Main Components ◽  
Great Focus ◽  
Crossover Music

The article is dedicated to research of the motif of voice in the semantic structure of Gaito Gazdanov’s 1920–30 small prose. Stories, representing the author's intentional object in his early works, were considered. The use of the methods of motif and intermedial analysis has made it possible to establish that dynamics of the stories’ “Transformation” and “The disappearance of Ricardy” plot is connected with the paradigm of metaphysic existence. The main components of this paradigm are translated into auditory imageries in Gazdanov’s narrative. A study of the texts has shown that during multiple variations audial imageries become motifs that mark existential-ontological problematics of works and form multifaceted art space. The motif of voice is highlighted as one of the main carriers of meaning in the motif system of both stories, which explicate the processes of consciousness of narrating subject and endowed with function of other character attributes. The motif of voice is also a dominant element of the intermedial code. Author’s intermedial strategies are reflected through the references to “Elegy” by a French composer J. Massenet (“Transformation”) and to vocal and instrumental performances of crossover music textes, decoding the collision of opera singer Ricardy (“The disappearance of Ricardy”). Ultimately, both of Gazdanov’s stories are considered to be a testimony to the acceptance of inevitability of human existence in two planes of being: ontologically possible and empirically given. The art strategy of audial writing has proven to be the most productive way to objectify this type of author’s consciousness in the writer’s early prose. The next stages of Gazdanov’s art system evolution are also marked by the author's great focus on the potential of audial and intermedial narration techniques. It offers the clear prospect of studying them as dynamical integrity.

Critique et appropriation

2020 ◽  
Vol 20 ◽  
pp. 223-238
Author(s):  
Filip Karfík ◽  
Keyword(s):  
Human Existence ◽  
Necessary Condition ◽  
Ethical Values ◽  
Ontological Difference ◽  
Post War ◽  
Theory Of Forms

The paper deals with a series of writings on Plato and Platonism issued by Jan Patočka (1907–1977) in the immediate post-war period. In Eternity and Historicity (1947), he contrasts Platonism as metaphysics of being with Socratism as questioning the meaning of human existence, and criticizes modern forms of Platonism of ethical values interpreted as objectively valid norms. In lectures on Plato (1947–1948), he explains Plato’s theory of Forms in terms of Husserl’s theory of horizontal intentionality and Heidegger’s theory of ontological difference. Similarly, in Negative Platonism (1952) he interprets Plato’s theory of Forms in terms of a distinction he makes between between the eidetic contents (the intelligible Form) and the transcendental character (chōrismos) of the Platonic Idea. The latter is the necessary condition of the former but it does not constitute an intelligible object of its own. Patočka suggests retaining the Platonic notion of transcendence while dissociating it from the metaphysics of intelligible Forms. The paper puts these post-war writings on Plato and Platonism into the context of Patočka’s search for his own position as a phenomenologist.

Commentaries on “Conscious Experience Depends on Multiple Brain Systems” by Carlo Umiltà and Author's Reply

2000 ◽  
Vol 5 (1) ◽  
pp. 17-18
Author(s):  
Carlo Umiltà
Keyword(s):  
Conscious Experience

The Darwin-God dilemma: A totemic approach to the meaning of life and human existence.

2020 ◽  
Vol 14 (4) ◽  
pp. 355-361
Author(s):  
Yueh-Ting Lee ◽  
Matt Jamnik ◽  
Kortney Maedge ◽  
Wenting Chen
Keyword(s):  
Meaning Of Life ◽  
Human Existence

REREADING TEXTS OF MUSIC AND DANCE IN THE HEBREW BIBLE: THE SPIRITUALITY OF MUSIC AND DANCE IN ZIMBABWE

2017 ◽  
Vol 25 (1) ◽  
pp. 72-98
Author(s):  
Temba T. Rugwiji
Keyword(s):  
Hebrew Bible ◽  
Land Reform ◽  
Critical Role ◽  
Musical Instruments ◽  
World Music ◽  
Human Existence ◽  
Biblical Text ◽  
Ancient Israel ◽  
Formed Part ◽  
The Church

The Hebrew Bible depicts that music and dance formed part of worship and reverence of Yahweh in which various musical instruments were played during ancient biblical times. In the modern post-biblical world, music and dance characterise every context of human existence either in moments of love, joy, celebration, victory, sorrow or reverence. In Zimbabwe, music — which is usually accompanied by dance — serves various purposes such as solidarity towards or remonstration against the land reform, despondency against corruption, celebration, giving hope to the sick, worship as in the church or appeasing the dead by those who are culturally-entrenched. Two fundamental questions need to be answered in this article: 1) What was the significance of music and dance in ancient Israel? 2) What is the significance of music and dance in Zimbabwe? In response to the above questions, this essay engages into dialogue the following three contestations. First, texts of music, musical instruments and dance in the Hebrew Bible are discussed in view of their spiritual significance in ancient Israel. Second, this study analyses music and dance from a faith perspective because it appears for the majority of Gospel musicians the biblical text plays a critical role in composing their songs. Third, this article examines music and dance in view of the spirituality which derives from various genres by Zimbabwean musicians in general. In its entirety, this article attempts to show that the Zimbabwean society draws some spirituality from music and dance when devastated by political, cultural or socio-economic crises.

STORYTELLING AND MEANING RECONSTRUCTION: A METAPHORICAL PERSPECTIVE

2016 ◽  
Vol 24 (2) ◽  
pp. 159-169
Author(s):  
M L Mojapelo
Keyword(s):  
Personal Development ◽  
Real Life ◽  
Human Existence ◽  
Meaning Reconstruction ◽  
Changing Patterns ◽  
The Subject ◽  
Changes Over Time ◽  
Over Time

Storytelling consists of an interaction between a narrator and a listener, both of whom assign meaning to the story as a whole and its component parts. The meaning assigned to the narrative changes over time under the influence of the recipient‟s changing precepts and perceptions which seem to be simplistic in infancy and more nuanced with age. It becomes more philosophical in that themes touching on the more profound questions of human existence tend to become more prominently discernible as the subject moves into the more reflective or summative phases of his or her existence. The aim of this article is to demonstrate the metaphorical character of a story, as reflected in changing patterns of meaning assigned to the narrative in the course of the subjective receiver‟s passage through the various stages of life. This was done by analysing meaning, from a particular storytelling session, at different stages of a listener‟s personal development. Meaning starts as literal and evolves through re-interpretation to abstract and deeper levels towards application in real life.

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