Horizonte y temple de ánimo en la fenomenología de Edmund Husserl

2016 ◽  
Vol 61 (76) ◽  
pp. 83 ◽  
Author(s):  
Ignacio QUEPONS
Keyword(s):  
Lived Experience ◽  
Edmund Husserl ◽  
Title Page ◽  
Main Thesis ◽  
The World

<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>Este artículo sugiere una posible sistematización de la noción de temple de ánimo o </span><span>Stimmung </span><span>de acuerdo con las investigaciones fenomeno- lógicas de Edmund Husserl. El objetivo de esa sistematización es explicar la constitución del temple de ánimo como experiencia de sentido a través de los diferentes conceptos de horizonte que aparecen a lo largo de los escri- tos de Husserl. Con el fin de defender la tesis principal el artículo presenta una síntesis de la doctrina de la intencionalidad de horizonte, seguida de un análisis de las características esenciales de la vivencia del temple de ánimo y, posteriormente, una descripción posible de los diferentes niveles de los horizontes implicados en la constitución del mundo circundante, coherentes con la experiencia del temple de ánimo. </span></p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>The paper suggests a possible systematization of the notion of mood or </span><span>Stimmung </span><span>according to Edmund Husserl’s phenomenological investiga- tions. The aim of such systematization is to explain the constitution of mood as experience of sense, through the different concepts of horizon that appear along the writings of Husserl. In order to sustain the main thesis, the paper presents a synthesis of Husserl’s doctrine of horizon intentionality, followed by the analysis of the essential features of the lived-experience of mood, and afterwards, a possible description of the different layers of the horizons implied in the constitution of the world surround, coherent with the lived- experience of mood. </span></p></div></div></div><p><span><br /></span></p></div></div></div>

Simone de Beauvoir's Philosophy of Individuation

2017 ◽  
Author(s):  
Laura Hengehold
Keyword(s):  
Lived Experience ◽  
20Th Century ◽  
Sexual Difference ◽  
Gilles Deleuze ◽  
The Other ◽  
Simone De Beauvoir ◽  
Second Sex ◽  
Other Hand ◽  
The World

Most studies of Simone de Beauvoir situate her with respect to Hegel and the tradition of 20th-century phenomenology begun by Husserl, Heidegger, and Merleau-Ponty. This book analyzes The Second Sex in light of the concepts of becoming, problematization, and the Other found in Gilles Deleuze. Reading Beauvoir through a Deleuzian lens allows more emphasis to be placed on Beauvoir's early interest in Bergson and Leibniz, and on the individuation of consciousness, a puzzle of continuing interest to both phenomenologists and Deleuzians. By engaging with the philosophical issues in her novels and student diaries, this book rethinks Beauvoir’s focus on recognition in The Second Sex in terms of women’s struggle to individuate themselves despite sexist forms of representation. It shows how specific forms of women’s “lived experience” can be understood as the result of habits conforming to and resisting this sexist “sense.” Later feminists put forward important criticisms regarding Beauvoir’s claims not to be a philosopher, as well as the value of sexual difference and the supposedly Eurocentric universalism of her thought. Deleuzians, on the other hand, might well object to her ideas about recognition. This book attempts to address those criticisms, while challenging the historicist assumptions behind many efforts to establish Beauvoir’s significance as a philosopher and feminist thinker. As a result, readers can establish a productive relationship between Beauvoir’s “problems” and those of women around the world who read her work under very different circumstances.

Drowning in negativism, self-hate, doubt, madness: Linguistic insights into Sylvia Plath’s experience of depression

2015 ◽  
Vol 11 (1) ◽  
pp. 41-54 ◽  
Author(s):  
Zsófia Demjén
Keyword(s):  
Lived Experience ◽  
Medical Humanities ◽  
Sylvia Plath ◽  
Individual Experience ◽  
Qualitative And Quantitative ◽  
The World ◽  
The Individual ◽  
Linguistic Methods ◽  
Linguistic Approach

This paper demonstrates how a range of linguistic methods can be harnessed in pursuit of a deeper understanding of the ‘lived experience’ of psychological disorders. It argues that such methods should be applied more in medical contexts, especially in medical humanities. Key extracts from The Unabridged Journals of Sylvia Plath are examined, as a case study of the experience of depression. Combinations of qualitative and quantitative linguistic methods, and inter- and intra-textual comparisons are used to consider distinctive patterns in the use of metaphor, personal pronouns and (the semantics of) verbs, as well as other relevant aspects of language. Qualitative techniques provide in-depth insights, while quantitative corpus methods make the analyses more robust and ensure the breadth necessary to gain insights into the individual experience. Depression emerges as a highly complex and sometimes potentially contradictory experience for Plath, involving both a sense of apathy and inner turmoil. It involves a sense of a split self, trapped in a state that one cannot overcome, and intense self-focus, a turning in on oneself and a view of the world that is both more negative and more polarized than the norm. It is argued that a linguistic approach is useful beyond this specific case.

Pilsēta Jāņa Hvoinska dzejā

2021 ◽  
pp. 233-242
Author(s):  
Anda Kuduma
Keyword(s):  
Concept Formation ◽  
Edmund Husserl ◽  
Artistic Style ◽  
Life And Death ◽  
Jean Paul ◽  
The World ◽  
Depth Dimension ◽  
Symbolic Images ◽  
Main Ideas ◽  
The City

The article is dedicated to the evaluation of creative work by poet and translator Jānis Hvoinskis, and it characterises the content and artistic qualities of Hvoinskis’s poetry process. The main focus is on the representation of the phenomenon of the city as an essential and characteristic poetic chronotope segment in Hvoinskis’s poetry. The study aims to identify and assess the characteristic kinds of city concept formation and their importance in building Hvoinskis’s artistic style. The article highlights and evaluates the techniques for designing the artistic structure of the indivisible chronotope in Hvoinskis’s poetry. This view is based on the fundamental principles of phenomenology, i.e., an individual phenomenon (phainómeno) is crucial in the reflection of consciousness, inner temporality, intentionality, intersubjectivity, and lifeworld. In turn, the highlight of poetry subject’s primary condition and existential motifs is logically linked to the main ideas of existentialism in their attitude towards the reason of an individual’s existence, relationships to life and death, freedom of will and choice, determinism. The study’s theoretical and methodological basis includes the ideas of phenomenology theoreticians (Edmund Husserl, Maurice Merleau-Ponty, and others) and the theories of existentialism philosophers (Søren Kierkegaard, Martin Heidegger, Jean-Paul Sartre). Hvoinskis’s poetry allows us to speak about a city as a concept, i.e., as a universal and capacious generalising notion (which includes images, notions, symbols) from which its associative components – poetry themes, motifs, images – derive. Thus, it is possible to speak about the depth dimension of the city phenomenon. The city phenomenon in Hvoinskis’s poetry is the landscape that has been adopted as the centre of the world of the lyric subject in both poetry collections that have come out to date: “Lietus pār kanālu e” (Rain over the Channel e, 2009) and “Mūza no pilsētas N” (Muse from City N, 2019). The depth dimension in Hvoinskis’s poetry appears in the natural synthesis of mythical and real chronotope, associatively impressive and plastic imagery, expressive style kindred to surrealism poetics. The city appears as a modernism project created by the logic of industrialisation, simultaneously revealing a metaphysical dimension where symbolic images as constituents of a myth preserve the memory of wholeness of the world. The emotional atmosphere of Hvoinskis’s poetry is defined by the highly existential atmosphere – despite the harsh indifference created by the city, the sadness of existential loneliness, social distance, and aversion towards life, the poet makes the tragic and ugly strangely appealing without losing the feeling of lightness and hope. The poet’s intense intuition and imagination exhibit the congeniality with the 20th-century French modernists. Hvoinskis’s poetry muse is death, which implies life.

Literature and the Arts as a Basis for Curriculum in the Work of Maxine Greene

2021 ◽  
Author(s):  
Janet L. Miller
Keyword(s):  
Literary Criticism ◽  
Lived Experience ◽  
Performing Arts ◽  
Lived Experiences ◽  
Teacher Educators ◽  
Matter Content ◽  
The Arts ◽  
The World ◽  
Imaginative Literature ◽  
Maxine Greene

Maxine Greene, internationally renowned educator, never regarded her work as situated within the field of curriculum studies per se. Rather, she consistently spoke of herself as an existential phenomenological philosopher of education working across multidisciplinary perspectives. Simultaneously, however, Greene persistently and passionately argued for all conceptions and enactments of curriculum as necessarily engaging with literature and the arts. She regarded these as vital in addressing the complexities of “curriculum” conceptualized as lived experience. Specifically, Greene regarded the arts and imaginative literature as able to enliven curriculum as lived experience, as aspects of persons’ expansive and inclusive learnings. Such learnings, for Greene, included the taking of necessary actions toward the creating of just and humane living and learning contexts for all. In particular, Greene supported her contentions via her theorizing of “social imagination” and its accompanying requisite, “wide-awakeness.” Specifically, Greene refused curriculum conceived as totally “external” to persons who daily attempt to make sense of their life worlds. In rejecting any notion of curriculum as predetermined, decontextualized subject-matter content that could be simply and easily delivered by teachers and ingested by students, she consistently threaded examples from imaginative literature as well as from all manner of the visual and performing arts throughout her voluminous scholarship. She did so in support of her pleas for versions of curriculum that involve conscious acts of choosing to work in order not only to grasp “what is,” but also to envision persons, situations, and contexts as if they could be otherwise. Greene thus unfailingly contended that literature and the arts offer multiplicities of perspectives and contexts that could invite and even move individuals to engage in these active interpretations and constructions of meanings. Greene firmly believed that these interpretations and constructions not only involve persons’ lived experiences, but also can serve to prompt questions and the taking of actions to rectify contexts, circumstances, and conditions of those whose lived lives are constrained, muted, debased, or refused. In support of such contentions, Greene pointed out that persons’ necessarily dynamic engagements with interpreting works of art involved constant questionings. Such interrogations, she argued, could enable breaking with habitual assumptions and biases that dull willingness to imagine differently, to look at the world and its deleterious circumstances as able to be enacted otherwise. Greene’s ultimate rationale for such commitments hinged on her conviction that literature and the arts can serve to not only represent what “is” but also what “might be.” As such, then, literature and the arts as lived experiences of curriculum, writ large, too can impel desires to take action to repair myriad insufficiencies and injustices that saturate too many persons’ daily lives. To augment those chosen positionings, Greene drew extensively from both her personal and academic background and interests in philosophy, history, the arts, literature, and literary criticism. Indeed, Greene’s overarching challenge to educators, throughout her prolonged and eminent career, was to think of curriculum as requiring that persons “do philosophy,” to think philosophically about what they are doing. Greene’s challenges to “do philosophy” in ways that acknowledge contingencies, complexities, and differences—especially as these multiplicities are proliferated via sustained participation with myriad versions of literature and the arts—have influenced generations of educators, students, teaching artists, curriculum theorists, teacher educators, and artists around the world.

What Is Peace? Being an Autoethnographic Account of Methodological Musings From the Beach

2017 ◽  
Vol 24 (6) ◽  
pp. 371-380
Author(s):  
Anandam Kavoori
Keyword(s):  
Lived Experience ◽  
Field Work ◽  
Peace Studies ◽  
Liminal Space ◽  
Writing Project ◽  
Emotional Process ◽  
The World ◽  
Different Parts

This autoethnographic essay is focused on methodological space of “problematization”—the wrenching intellectual and emotional process (and lived experience) that a scholar goes through before settling into a long-term writing project—in this case travel to different parts of the world, in an attempt to explore the idea and experience of “Peace” in each of those places. Weaving through elements of family memoir, Georgia history, eco-criticism, and Peace Studies (across different sub fields), the essay illuminates the personal and liminal space of methodological engagement before field work.

scholarly journals Zagorka Micic: On the occasion of her 100th anniversary

2003 ◽  
Vol 46 (1-4) ◽  
pp. 17-26 ◽  
Author(s):  
Radmila Sajkovic
Keyword(s):  
World War Ii ◽  
Edmund Husserl ◽  
100Th Anniversary ◽  
History Of Philosophy ◽  
World War ◽  
The World ◽  
History Of ◽  
The University

In this text the author reviews the life and work of Zagorka Micic, famous Serbian woman-philosopher, in honour of the 100th anniversary of her birth. She was one of the first students of Edmund Husserl, and her Ph. D. thesis was among the earliest ones in phaenomenology, which was waking in that time. Her cooperation with Husserl has continued for a decade. After the World War II Zagorka Micic worked as a professor of logic and history of philosophy at the University of Skoplje (now FYRM). Stressing her individual qualities, the paper is full of personal memories and reminiscences of mutual encounters.

Temporality and Existence

2017 ◽  
Author(s):  
Françoise Dastur ◽  
Robert Vallier
Keyword(s):  
Martin Heidegger ◽  
Edmund Husserl ◽  
Transcendental Phenomenology ◽  
The Other ◽  
Problem Of Time ◽  
Other Hand ◽  
New Beginning ◽  
Phenomenology Of Perception ◽  
The World ◽  
The One

This chapter brings Edmund Husserl and Martin Heidegger, whose different phenomenological styles are normally opposed, into dialogue with Maurice Merleau-Ponty's claim that temporality is not a contingent attribute of existence. According to Merleau-Ponty, consciousness and the world, the inside and the outside, sense and non-sense, are interdependent beings. For Merleau-Ponty, the problem of time is the problem of the subject's relation to time. The chapter examines how Merleau-Ponty's position in Phenomenology of Perception becomes the intermediary position between, on the one hand, the completion of the tradition and the fulfillment of modernity represented by Husserl's transcendental phenomenology and, on the other hand, the “new beginning for thought” that Heidegger wants to promote, insofar as he attempts to assume or take on metaphysics.

scholarly journals Patočka's Critique of Husserl: The Possibility of A-Subjective Phenomenology

2019 ◽  
Vol 6 (1) ◽  
pp. 75-90
Author(s):  
Gabriel Vidal
Keyword(s):  
Edmund Husserl ◽  
Phenomenological Reduction ◽  
Intentional Consciousness ◽  
Phenomenology Of Perception ◽  
The World ◽  
Thing In Itself

Edmund Husserl created phenomenology with the attempt of founding a new philosophical departure detached from past mistakes, specifically, the rigid split between things as they appear to us and the thing-in-itself. As such, it rejects both realism and idealism. With this in mind, Husserl posits that we ought to describe things only as they appear, without posing any predetermined thesis regarding the nature of the world. This gesture came to be known as epoché, which led to the development of the phenomenological reduction to intentional consciousness. And yet, in this latter gesture, Jan Patočka seem to have found a psychologistic and subjectivistic degradation of phenomenology, where the appearance of things happens only inside and within a consciousness. Under this approach, he critiques Husserl’s phenomenology of perception, correcting it, and proposing instead a phenomenology equally committed to the epoché but void of reduction, so that things have an autonomous appearance indicative of a horizon of world instead of an act of subject. 

Too Shame to Look:1 Learning to Trust Mirrors and Healing the Lived Experience of Shame in Alice Walker's The Color Purple

Hypatia ◽  
2018 ◽  
Vol 33 (3) ◽  
pp. 521-536
Author(s):  
Kimberly S. Love
Keyword(s):  
Lived Experience ◽  
The Third ◽  
Jean Paul ◽  
The Color Purple ◽  
The World ◽  
Reagan Era ◽  
Color Purple ◽  
Aesthetic Structure ◽  
Three Phases

This article investigates the role of shame in shaping the epistolary form and aesthetic structure of Alice Walker's The Color Purple. I argue that the epistolary framing presents a crisis in the development of Celie's shamed self‐consciousness. To explain the connection between shame and Celie's self‐consciousness, I build on Jean Paul Sartre's theory of existentialism and explore three phases of Celie's evolution as it is represented in three phrases that I identify as significant transitions in the text: “I am,” “But I'm here,” and “It mine.” The first section examines how shame fractures Celie's self‐consciousness; the second focuses on how Celie positions and locates herself in the world; and the third explains how Celie mobilizes shame by connecting her self‐consciousness to a past that is shameful but also generative. I conclude by considering the novel's emergence in the Cosby/Reagan era in order to illuminate the mutual constitution of black familial pride and black racial shame.

Sarah as victim and perpetrator: Whiteness, power, and memory in the matriarchal narrative

2018 ◽  
Vol 115 (4) ◽  
pp. 483-499
Author(s):  
Jayme R. Reaves
Keyword(s):  
Nineteenth Century ◽  
Lived Experience ◽  
White Privilege ◽  
White Women ◽  
Biblical Interpretation ◽  
American Slavery ◽  
Daily Experiences ◽  
The World

Womanist biblical interpretation tradition calls for white women to see themselves, not as the marginalized character, but as the text’s oppressor. The text, and a community who reads that same text and has daily experiences of oppression, asks white women to recognize that, because of our position in society, we have wittingly or unwittingly been in the role of Sarah more often than we have been in the role of Hagar. Therefore, we have a responsibility to take that reality seriously by acknowledging it, delving deeper, being receptive to challenge, and allowing it to transform how we view, and operate within, the world. This article expands on and models this approach by acknowledging the ways in which the Sarah narrative has been read by white women, with a particular view to nineteenth-century historical readings in the context of American slavery as well as with an awareness of whiteness and white privilege. It seeks to dig deeper into the text to understand the fullness of Sarah’s experience as both victim and perpetrator, to hear the challenge to whiteness and privilege, and to find a way to read the text that speaks to the lived experience of the oppressed as well as giving challenge to the privileged.

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