Intencionalidad, pre-reflexión e imaginario: sobre los fundamentos de la fenomenología existencial de Jean-Paul Sartre

2020 ◽  
pp. 100-120
Author(s):  
Sergio González Araneda
Keyword(s):  
Edmund Husserl ◽  
Jean Paul

El presente trabajo tiene por objetivo describir una síntesis de los fundamentos, conceptos y principios que articulan y otorgan sentido a la fenomenología existencial de Jean-Paul Sartre (1905-1980), estableciendo como eje central de investigación su trabajo y producción fenomenológica. Para cumplir este objetivo general, en primer lugar, se revisará el concepto de intencionalidad, a la luz del distanciamiento que toma nuestro autor respecto del padre de la fenomenología Edmund Husserl (1859-1938). Esto servirá como suelo de sentido para nuestro segunda labor, a saber: revisar y analizar la íntima relación entre la reformulación de la intencionalidad, la preeminencia ontológica del cogito pre-reflexivo y la constitución de lo imaginario. Es importante realizar este paso, pues, como se verá, resulta fundamental para el devenir de la filosofía sartriana. De este modo, podremos acercarnos a nuestro tercer objetivo, sostener y profundizar nuestro análisis hacia la tesis más radical en el pensamiento de Jean-Paul Sartre, a saber: la absoluta libertad de una conciencia existente. Finalmente, proponemos una sintética revisión a los preceptos principales de la fenomenología existencial sartriana, destacando sus nexos con los conceptos abordados a lo largo de la investigación. Es decir, revisaremos la relación entre lo que Jean-Paul Sartre denomina pour-soi, en-soi y néantisation.

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.

scholarly journals Implied Author in Philosophical Novels

2014 ◽  
Vol 26 (31) ◽  
pp. 13-26
Author(s):  
Olga Senkāne
Keyword(s):  
Communication Skills ◽  
Edmund Husserl ◽  
Albert Camus ◽  
Implied Author ◽  
Hermann Hesse ◽  
Jean Paul ◽  
Perceptual Abilities ◽  
Real Person ◽  
Glass Bead Game ◽  
Gerard Genette

The present article falls within a number of papers about research on specification of philosophical novels. The aim of this article is to analyze author’s function as a narrative category in classical philosophical novels (Franz Kafka "The Trial" (1925) ”The Castle”(1926), Jean-Paul Sartre "Nausea" (1938), Hermann Hesse "The Glass Bead Game" (1943), Albert Camus ”The Plague” (1947)) and a novel of Latvian prose writer Ilze Šķipsna „Neapsolītās zemes” [Un-Promised Lands](1970)). The analysis is based on theoretical ideas of structural narratologists Gerard Genette, William Labov, Seymuor Chatman, Wolf Schmid, as well as philosophers Edmund Husserl, Jean-Paul Sartre, Paul Ricouer and semioticians Yuri Lotman (Юрий Лотман) and Umberto Eco.The real author can ”enter” the text only indirectly—as an image, with the help of the storyteller, and the way how this ”entry” happens is determined by the narration of the real author or narrative (communication) skills of the author. Thus, the author and implied author are functionally different concepts: author as a real person develops the concept idea, his intention is to define the concept under his original vision; narrator, in its turn, communicates with the reader, representing the concept, and his aim is to select appropriate means of communication with regard to reader’s perceptual abilities.

Being-In-Itself Revisited

Dialogue ◽  
1984 ◽  
Vol 23 (3) ◽  
pp. 397-406 ◽  
Author(s):  
Richard Holmes
Keyword(s):  
Edmund Husserl ◽  
Correct Description ◽  
Jean Paul ◽  
The World ◽  
The Moment

In the Introduction to Being and Nothingness, entitled “The Pursuit of Being”, Jean-Paul Sartre states that Edmund Husserl has misunderstood his own essential discovery of the intentionality of consciousness and that “from the moment that he makes of the noema an unreal, a correlate of the noesis, a noema whose esse is percipi, he is totally unfaithful to his principle”. In what follows I assess this claim as I explicate Sartre's development of the concept of intentionality and the basis for his claim. In addition, I show how an understanding of the views of both Husserl and Sartre reveals a basic convergence. My primary purpose in this is to further develop the correct description of the objects of the world through an analysis and elucidation of the accounts of Sartre and Husserl.

Consciousness, phenomenology of

2018 ◽  
Author(s):  
Hanne Jacobs
Keyword(s):  
Twentieth Century ◽  
Philosophy Of Mind ◽  
Edmund Husserl ◽  
Structural Features ◽  
Self Awareness ◽  
Contemporary Philosophy ◽  
Natural Event ◽  
Jean Paul ◽  
The World ◽  
Phenomenological Account

Phenomenology is an approach to consciousness that originates at the beginning of the twentieth century in the work of Edmund Husserl. A phenomenological account of consciousness begins from a first-person reflection on consciousness that puts out of play our everyday or natural-scientific preconceptions about consciousness and the world and describes the structural features of our consciousness of the world. This project is carried on in the phenomenological works of authors such as Martin Heidegger, Jean-Paul Sartre, and Maurice Merleau-Ponty, albeit with sometimes quite different emphases and aims. Insofar as phenomenology describes the structures of consciousness by virtue of which there is a world for us, phenomenology is a form of transcendental philosophy. Specifically, phenomenologists describe how the structures of intentionality, self-awareness, temporality, attention, embodiment, and intersubjectivity make possible our consciousness of worldly things, situations, and events. According to them, the world is not just an objective nature comprised of spatiotemporally extended and causally connected things; it is also always an intersubjectively accessible world that is shot through with values and organized in light of practical projects, due to which the world appears with a significance that is variable across time and space. Husserl maintains that phenomenological descriptions of the essential structures of consciousness that make possible the experience and knowledge of the world—that is, of transcendental consciousness—can also be taken as psychological descriptions of consciousness conceived as a natural event in the world. In this way, a number of contemporary philosophers draw on specific descriptive insights from the phenomenological tradition to address issues in contemporary philosophy of mind and drive the empirical investigation of consciousness forward (such as Gallagher and Schmicking 2010; Dahlstrom et al. 2015; Petitot et al. 1999; Thompson 2007; Zahavi and Gallagher 2012; Zahavi 2012). Alternatively, both Sartre and Merleau-Ponty explicitly draw on insights from psychology and psychopathology to inform their phenomenology of consciousness, which is a strategy that has also been employed by some contemporary phenomenologists (see Zahavi 2000).

scholarly journals Book Review of "Metode Fenomenologi Kajian Filsafat dan Ilmu Pengetahun"(Phenomenological Method of Study of Philosophy and Science)

2021 ◽  
Author(s):  
Riska Puspitasari Ningrum ◽  
Moses Glorino Rumambo Pandin
Keyword(s):  
Research Methods ◽  
Edmund Husserl ◽  
Phenomenological Approach ◽  
Phenomenological Research ◽  
Jean Paul ◽  
Phenomenological Methodology ◽  
Conducting Research ◽  
Qualitative Phenomenological ◽  
Good Research

The book "Metode Penelitian Fenomenologi" was written to provide knowledge to readers about phenomenological research methods. Phenomenological research itself is conducted by looking at the phenomena that exist around us with the aim of digging awareness in each individual. Usually, this researcher is conducted by conducting interviews with participants. Some of the figures who used this approach in his research were Edmund Husserl, Martin Heidegger, Jean Paul Sartre, Mauriche Marleau-Pounty, Jaques Derrida, Alfred Schutz, Peter Berger and Luckmann. The figures use phenomenological research because they can decipher or obtain clear information from a phenomenon. In addition, it also explains what stages need to be carried out in phenomenological research. The author hopes that with this book, the readers can use it as a guideline in doing real research so that they can get maximum results. For readers who want to know more about phenomenological research methods, it is highly recommended to read this book because this book contains a lot of information about phenomenological research, such as the theory used by the figures, phenomenological methodology, and what steps can be done in conducting research using this approach so that it can increase the reader's knowledge about phenomenological research that will be used in the future.Research using phenomenological methods is not easy because, basically, phenomenology is an indisputable basis of thinking. In this research, science can be scientifically proven by using qualitative phenomenological research. Using qualitative phenomenological research, researchers created a list of questions that became important factors for expressing the feelings and experiences of an informant. So by preparing some questions, researchers will get a lot of information obtained directly from each individual. In qualitative research, logic also plays an important role. Therefore, a researcher must understand what the meaning of facts, concepts, principles, laws, hypotheses, and theories is to facilitate researchers in conducting qualitative research.The book discusses photometric research methods in detail and clearly packaged in several parts. With the book, we become aware of the phenomenological approach in the study of philosophy with science. The book also explains what steps to take before doing research until after doing research. With the book, we become aware of how to do good research in order to obtain the results we expect.

scholarly journals DE HUSSERL A SARTRE: UMA PROPOSTA ONTOFENOMENOLÓGICA

Sapere Aude ◽  
2016 ◽  
Vol 6 (12) ◽  
pp. 498
Author(s):  
Neide Coelho Boëchat
Keyword(s):  
Edmund Husserl ◽  
Jean Paul

RESUMO  Este trabalho trata dos princípios fundamentais da fenomenologia de Edmund Husserl e de seu reflexo no pensamento ontofenomenológico de Jean-Paul Sartre. Pretende-se aqui acentuar o fato de que este último ultrapassa o terreno da singularidade humana, própria da pesquisa fenomenológica husserliana, para o âmbito da história, investigando o homem em sua individualidade, sem perder de vista seu movimento histórico-político que o coloca no âmbito do universal e, consequentemente, na possibilidade de uma construção moral. PALAVRAS-CHAVES: Fenomenologia. Consciência. Liberdade. Escassez. Moral.

scholarly journals O MUNDO VIVIDO NA GEOGRAFIA BRASILEIRA: SOBRE A INSTABILIDADE DE UM CONCEITO HUMANISTA-CULTURAL NO INÍCIO DO SÉCULO XXI

2020 ◽  
pp. 16-31
Author(s):  
Sandro de Oliveira Safadi
Keyword(s):  
Edmund Husserl ◽  
Jean Paul

Está em curso a construção do que é discutida neste trabalho como tendência humanista-cultural da geografia brasileira, compreendida como um conjunto de produções que absorve a perspectiva plural no que se refere a influências metódicas e de marcos teóricos, além de um olhar voltado para o indivíduo. O estudo se dá a partir da análise da produção geográfica brasileira contemporânea, mais especificamente da primeira década do século XXI, que utiliza como suporte teórico a noção de mundo vivido – presente nas formulações de autores anglo-saxões como Anne Buttimer, Yi-Fu Tuan, Edward Relph e David Lowenthal – e o conceito de espaço vivido, do francês Armand Frémont. Nota-se que esta dupla orientação aponta para a existência de uma instabilidade conceitual, que traz elementos da fenomenologia de Edmund Husserl, juntamente com conceitos inerentes à psicologia. Diante desta constatação, o artigo apresenta a contribuição dos geógrafos franceses Augustin Berque e André-Louis Sanguin, bem como dos geógrafos brasileiros Milton Santos e Werther Holzer, além da perspectiva analítica do sociólogo francês Alain Touraine e dos filósofos, também franceses, Jean-Paul Sartre e Jean-Marc Besse. 

scholarly journals KETVIRTOJI KANTO ANTINOMIJA IR LEVINO SUBJEKTO ODISĖJA

Problemos ◽  
2007 ◽  
Vol 71 ◽  
Author(s):  
Jūratė Baranova
Keyword(s):  
Personal Identity ◽  
Edmund Husserl ◽  
The Other ◽  
Western Thought ◽  
Self Identity ◽  
Second Moment ◽  
Jean Paul ◽  
Starting Point

Straipsnyje svarstomas teorinis judesys, kuriuo Emmanuelis Levinas grindė savąją asmens tapatumo sampratą, priešingą Vakarų filosofijos klasikiniame racionalizme ir fenomenologijoje susiklosčiusios savimonės kaip sąmonės tapatumo sau prielaidai. Kanto asmens tapatumo koncepcija taip pat lieka šioje „antileviniškoje“ paradigmoje, tačiau Levinas pasitelkia ketvirtąją Kanto antinomiją kaip išlaisvinančią subjektyvumą iš laiko spąstų. Straipsnyje keliamas klausimas, kaip Levinas peršoka nuo dinamiško laiko sekmens problemos prie subjekto tapatumo kaip jo socialumo klausimo. Kokį vaidmenį šioje naujoje asmens tapatumo sampratoje vaidina Fiodoro Dostojevskio romanų kai kurių veikėjų vertybinėms prielaidoms labai artima Levino subjekto pasyvumo, pažeidžiamumo ir apsėstumo samprata? Kaip ji išplaukia iš ketvirtosios Kanto antinomijos pamokų? Vienišas filosofinis subjektas negali kito momento kitybės aptikti pats savyje. Levino filosofinis subjektas kito momento kitybę randa kitame asmenyje. Taip laikas sukuriamas. Levinas, susiedamas asmens tapatumą su nauja laiko samprata, suteikia jam socialumo matmenį. Autorė straipsnyje įrodinėja tezę, kad Levino subjekto tapatumo steigčiai didžiausią įtaką turėjo Dostojevskio romanuose suformuluota žmogiškosios brolybės samprata. Jos paveiktas Levinas formuluoja naują asmens tapatumo savimonę, todėl jo filosofijoje pasyvus apsėstasis kitu subjektas yra amžinas Odisėjas, niekada nebegrįžtantis pats į save ir nebesutampantis su savimi. Toks teorinis judesys, autorės manymu, tampa galimas, kai Levinas, sekdamas Kanto ketvirtąja antinomija, savo subjektą išlaisvina iš dinaminės laiko tėkmės pančių. Pagrindiniai žodžiai: ketvirtoji Kanto antinomija, Levinas, Dostojevskis, subjekto tapatumas.The Fourth Kant’s Antinomy and the Odyssey of Levinas’ Subject Jūratė Baranova SummaryThis article is focused on the problem of self-identity suggested by Emamnuel Levinas. Author starts from the presupposition that Levinas created a new concept of identity, not reducible to any one elaborated by Western thought. Nevertheless Levinas takes the starting point from the fourth antinomy elaborated by Kant. Kant, like Edmund Husserl, was concerned in the transcendental subject. Georg Hegel and Jean-Paul Sartre considered the problem of personal identity as self-counsciousness, namely as the posibility of consciousness to return to itself (pour soi). Levinas, on the other side, opposes such a possibility of return. He encourages his philosophical subject to leave his own self for a permanent journey never to return back. The article deals with the question how this new identity as a substitution of the other person (autrui) by oneself, as being a hostage instead of him could be theoreticaly related with the fourth antino my of Kant. The author comes to a conclusion that by this antinomy Levinas helped his own philosophical subject to free oneself from the bondage of the sequence of time. This new subject, released from the dinamic sequence of time, needs the otherness of the other person, because the otherness of the second moment could not be included into a lonely subject. So Levinas included sociality into the question of time. Time is socially created. In this movement of thought Levinas returns back to the prephilosophical sources one can find in the novels of Dostoyevsky. Such crucial dimensions of new Levinas’ subjects as vulnerability, passivity, letting oneself being obsessed and persecuted by the other could not be derived from the tradition of Western reflection dealing with the topic of personal identity.Keywords: Levinas, Dostoyevsky, the fourth Kant’s antinomy, the identity of subject.> 

scholarly journals Collapsing Time, Chaotic Consciousness: Reading Don DeLillo's Point Omega from the Perspective of Postmodern Gothic

2015 ◽  
Vol 64 ◽  
pp. 143-149
Author(s):  
Mina Ghafoori ◽  
Zohreh Ramin
Keyword(s):  
Gilles Deleuze ◽  
Edmund Husserl ◽  
First Century ◽  
Henri Bergson ◽  
Time And Space ◽  
The Past ◽  
Contemporary Novels ◽  
Jean Paul ◽  
Time Space ◽  
New Ideas

The intense concerns with time, space and consciousness structure modernist and postmodernist Gothic narratives with the elements been treated much differently in these periods from the previous ages, owing to the hypotheses of great twentieth and twenty first century philosophers such as Henri Bergson, Edmund Husserl, Martin Heidegger and Jean-Paul Sartre, later to be followed by Gilles Deleuze, for whom the linear spatialized concept of time and the traditional notions of space and consciousness are no more than ideal speculations and to whom the existential views of time, space and consciousness make reasonable substitutes.Don DeLillo's Point Omega is among the postmodern works which touch upon philosophical contemplations on metaphysical dilemmas such as the meaning of true life, ultimate consciousness, unanimity of perception and reality, and extraterrestrial concepts of time and space. It is set in a traumatized present, outside of history while the very absence of future and the grip of the past it represents as well as the melancholy stasis it imposes become at once sources of revelation and triggers for a sense of uncanny to evoke. The reflections of irregular movements of time, space and memory as well as their constant "becoming" in postmodern Gothic can be used in suggestive assemblage with Gilles Deleuze's philosophical ones. It seems that the filmic desert wherein most of the narration takes place is ineluctably haunted by the Gothic spirit of Psycho, a terror-inspiring film with which it shares a number of images and incidents. However, it is the Deleuzian essences of time and space that most contribute to Point Omega's Gothic texture.By dissolving the two texts, Point Omega and Psycho, into each other and constituting a labyrinthine network of Gothicized associations and affinities, DeLillo has presented a magnificent work within the tradition of postmodern Gothic, which exceeds in both intellect and percipience from most of his contemporary novels'. Like the unnatural slowed-down time and space it presents, Point Omega demands a slow and conscientious reading while at the same time promising new ideas and revelations to the critics and scholars each time they attempt to work on it with devoted attention and mediation.

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