Enacted Narrative and Recovery: An Existential Analysis Based on, Hermeneutic- Phenomenological Interpretation

2018 ◽  
Vol 03 (02) ◽  
Author(s):  
Jan Sitvast ◽  
Theodore Stickley ◽  
Oonagh Meade ◽  
Agnes Higgins ◽  
Louise Doyle ◽  
...  
2017 ◽  
Vol 2017 (1) ◽  
pp. 97-116 ◽  
Author(s):  
Ronny Miron

The pivotal insight that paved Conrad-Martius’ (1880–1966) (CM) way in elucidating the ontological exclusivity of the I, denoted as “I-adhering being” (Ichhaftes Sein), is that despite its peculiarity and incomparability to any other mode of being, only the ontological foundations of the real being in general might enable a faithful comprehension of the I. The phenomenological interpretation suggested in this article presents CM’s ontological understanding of the I vis-a-vis her philosophy of Being, in particular in regard to three of its general characteristics – existence, intelligibility, and self-adherence (Sichheit/Selbsthaftigkeit) – which provide the critical approach to the ontological study of the I. Finally, the understanding of the ontological exclusivity of the I-adhering being is achieved by means of an explication of the joining together of its typical affinities and discrepancies in regard to Being in general.


Author(s):  
Ieva Rodiņa

The aim of the research “Historical Memory in the Works of the New Generation of Latvian Theater Artists: The Example of “The Flea Market of the Souls” is to focus on the current but at the same time little discussed topic in Latvian theater – the change of generations and the social processes connected to it, that are expressed on the level of world views, experiences, intergenerational relationships. Most directly, these changes are reflected in the phenomenon of historical memory. The concept of “postmemory” was defined by German professor Marianne Hirsch in 1992, suggesting that future generations are closely related to the personal and collective cultural traumas of previous generations, which are passing on the past experience through historical memory, thus affecting the present. Grotesque, self-irony, and focusing on socio-political, provocative questions and themes are the connecting point of the generation of young Latvian playwrights born in the late 1980s and early 1990s, including such personalities as Jānis Balodis, Rasa Bugavičute-Pēce, Matīss Gricmanis, Justīne Kļava, etc. However, unlike Matīss Gricmanis or Janis Balodis who represent the aesthetics of political theater, in Justīne Kļava’s works, sociopolitical processes become the background of a generally humanistic study of the relationships between generations. This theme is represented not only in “The Flea Market of the Souls”, but also in other plays, like “Jubilee ‘98” and “Club “Paradise””. The tendency to investigate the traces left by the Soviet heritage allows to define these works as autobiographical researches of the identity of the post-Soviet generation, analyzing life in today's Latvia in terms of historical memory. Using the semiotic, hermeneutic, phenomenological approach, the play “The Flea Market of the Souls” and its production in Dirty Deal Teatro (2017) are analyzed as one of the most vivid works reflecting the phenomenon of historical memory in recent Latvian original drama.


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