Time Flows: Rhythm in Slow Cinema

In her article, the author describes slow cinema as one of the most important tendencies in contemporary art-house cinema, simultaneously focusing on its temporal emanations. The text emphasizes the notion of rhythm and divides it into two subcategories: external and internal rhythm. The latter is close to the embodied experience, therefore it influences viewers affectively, as a somatic resonance. It enables a spectator’s intensive engagement in slow films. The author’s argumentation is based on rhythm research and existential phenomenology

A Journey Back Home: Lived Experience of the Returning Overseas Filipinos in a 14-Day Quarantine Facility

In outbreak prevention and infection control amid the COVID-19 pandemic, the Philippine government mandated the returning Overseas Filipino Workers (OFWs) to undergo a 14-day quarantine and isolation upon arrival in the country. In this light, this study utilized Heideggerian existential phenomenology to describe the experiences of OFWs in the quarantine facilities and the meanings they associated with their 14-day quarantine experience. Six purposively selected OFW-informants participated in the study. From the findings, five main themes emerged: (1) concerns and challenges of uncertainties, (2) emotional struggles, (3) process of coping, (4) meanings associated with their quarantine experience, and (5) their trusts and hopes. This study recommends a strengthened psycho-social support program to manage distress among OFWs and provide information and services needed to mount an appropriate response to assisting OFWs in this pandemic.

Hallmarks of the Political in Community Organizing: An Arendtian Perspective

Drawing upon Hannah Arendt’s adherence to existential phenomenology, the article advances a political understanding and interpretation of community organizing. Arendt, it is maintained, offers valuable insight into political phenomena which are constitutive of community organizing. Four aspects, in particular, are highlighted—what I refer to as the four “A”s of association, action, appearance and authenticity—understood in existentialist, phenomenological, ontological and ultimately political terms, as primary ways of being-together-politically. The first part of the article examines Arendt’s existential phenomenological approach in shaping her understanding of the political. This provides the theoretical basis for examining in the second part of the article, phenomena which are constitutive of community organizing, highlighting how association, action, appearance and authenticity form distinctive political characteristics of community organizing as an approach. At different points, brief reference is made to the work of London Citizens, the largest broad-based organization in the UK, in order to illustrate the connections between Arendtian thought and community-based organizing.

The lived body, everyday and generative powers of war: toward an embodied ontology of war as experience

This paper examines the emergence of the corporeal turn in International Relations (IR) research on war. It argues that a lack of a sustained ontological investigation leaves open two theoretical gaps, which impedes the development of an embodied theory of war: (1) the core concept of a body and its linkages with war are underdeveloped, and (2) existing research on the embodiment of war slips into discursivism or empiricism. The paper invites the corporeal turn scholarship to bring ontology to the forefront of IR war research and to expand a pool of theoretical resources for analyzing the corporeality of war by turning to existential phenomenology. With the phenomenological concept of the lived body placed at the heart of war ontology, war is conceived as a complex social institution with the generative powers born out of the capacity of the violent politics of injury to disrupt the lived bodies' sense-making and agential capacities, on the one hand, and the potential of individuals and communities to reclaim their interpretive integrity and agency through embodied everyday practices, on the other.

A Metaphysics of Love

The book is the third and final part of a philosophy of Christian life. The first part applied a phenomenological approach to the literature of the devout life tradition, focussing on the feeling of being drawn to devotion to God; the second part examined what happens when this feeling is interpreted as a call or vocation. At its heart, this is the call to love that is made explicit in the Christian love-commandment but is shown to be implied every time human beings address each other in speech. A metaphysics of love explores the conditions for the possibility of such a call to love. Taking into account contemporary critiques of metaphysics, Dante’s vision of ‘the love that moves the sun and other stars’ challenges us to account for the mutual entwining of human and cosmic love and of being/God and beings/creatures in love. Conditions for the possibility of love are shown to include language, time, and social forms that mediate between immediate individual existence and society as a whole. Faced with the history of human malevolence, love also supposes the possibility of a new beginning, which Christianity sees in the Incarnation, manifest as forgiveness. Where existential phenomenology sees death as definitive of human existence, Christianity finds life’s true measure in love. Thus understood, love reveals the truth of being.

Introduction: A ‘Fleshly Dialogue’

This chapter positions the book in the extant scholarship of adaptation and phenomenology. It establishes the book’s argument that in order to ‘make sense’ of adaptations as adaptations, we must first attend to their sensual presence: their look, their sound, their touch, and how they materialize in the embodied imagination. This chapter builds on foundational adaptation scholarship by Robert Stam, Linda Hutcheon, and Christine Geraghty who advance an intertextual approach to studying adaptation. Rather, this chapter employs the existential phenomenology of Maurice Merleau-Ponty—and how it has been adapted to film studies by Vivian Sobchack—to propose an intersubjective account of adaptation.