Amor Mundi as Capability to Transcend: Hannah Arendt’s Conception of the Human

The paper aims at offering a phenomenological interpretation of the idea of ‘transcendence’ (as human capability) by reconceptualizing Hannah Arendt’s rather vague notion of amor mundi. Firstly, I show the paradoxical tension of amor mundi within her own writings. Then, I trace the origin of the problematic of love of the world from her doctoral dissertation (Arendt’s critic of Augustine’s ‘neighbor love’) by using Heidegger’s phenomenological method. Finally, I explicate a phenomenological approach toward amor mundi as human capability to transcend (regarding how ‘love’ and ‘world’ are presentable as ‘experience’ and ‘capability’) by further analyzing the distinction between ‘ontological’ claim and ‘political’ claim (regarding the human): the world which humans build and sustain together is to be shared, but that first-hand experience of the world is not particularly demonstrable or sharable.

THE PHILOSOPHICAL APPROXIMATIONS IN INTERNATIONAL CONTEMPORARY FORMATION

The recent research deals with the philosophical approximations in international contemporary formation. The research deals with an introduction that includes the problem and significance of it. This significance has represented by consideration of art as a language that has many complicated intellectual processes. This type of language has been ascertained by the Phenomenological Interpretation through constructing an artwork by using the same perception , and making approximation with the space that express a visual language. The research aims at finding out the philosophical approximations in international contemporary formation. The limits of the research is restricted to the study of philosophical approximations in contemporary formation specially the conceptual art from 1965 to 1970. The research has four sections : The first section deals with the meaning of concept in philosophical thinking: The research focuses on tracing back the concept process in philosophy. It presents many possibilities concerning the concept, the imagination and the thought. The second section deals with the concept as an interpretation : It states the idea of art prosperity through its quality not quantity. The third section deals with the philosophy of conceptual art ( Applications and Interpretations) : The artistic phenomenon can not be achieved without practice. This is a feature of ontology which requires the discovery of any phenomenon through its ontological function. This means the melting of an artwork with the outer atmosphere and horizons.The fourth section has the conclusions that have been drawn by the researcher. They are as follow : 1. The concept of text in (The Minimal Edge Art) is regarded as a meeting of texts. The text with its performing and formative types has depended on outer codes that make transformation in meaning. This results from ambiguity and connotations that are connected with hypothetical spaces. There is a renewal of old texts in every period. 2. The Discourse level of the performing arts (Body Language) has decreased to the degree of Civilized Decline. Dealing with mixed references has its spread over participations. This results from inadequate translation of synonyms which have mysterious and symbolic space limits. The research has a list of references, and English abstract.

What Do We Mean by Behavioral Disinhibition in Frontotemporal Dementia?

Behavioral variant frontotemporal dementia, unlike other forms of dementia, is primarily characterized by changes in behavior, personality, and language, with disinhibition being one of its core symptoms. However, because there is no single definition that captures the totality of behavioral symptoms observed in these patients, disinhibition is an umbrella term used to encompass socially disruptive or morally unacceptable behaviors that may arise from distinct neural etiologies. This paper aims to review the current knowledge about behavioral disinhibition in this syndrome, considering the cultural factors related to our perception of behavior, the importance of phenomenological interpretation, neuroanatomy, the brain networks involved and, finally, a new neuroscientific theory that offers a conceptual framework for understanding the diverse components of behavioral disinhibition in this neurodegenerative disorder.

The emergency (crisis) e-learning as a challenge for teachers in Poland

The article was written as a consequence of the COVID-19 pandemic in Poland, which had an impact not only on public health, but also on the functioning of the educational sector. The text is an attempt to summarize the challenges of crisis e-learning from the perspective of the challenges faced by teachers in Poland in the period of March-December 2020. The article reveals a number of new phenomena not present in the literature in the context of e-learning implemented in an intuitive, non-linear way, without methodological support, and thus referred to as crisis e-learning. The aim of the research was to explore the characteristics of crisis e-learning in Poland from the perspective of teachers' experiences. Due to epidemiological limitations, the research area was narrowed down to cyberspace. This text presents the results of research relating to statements made by teachers posting in the largest Polish discussion group on education. The group currently consists of over four thousand people. The study uses an analysis of several thousand posts and then identifies and categorizes statements related to crisis e-learning along with a phenomenological interpretation. The analyses made it possible to identify seven categories of challenges attributed to crisis e-learning, such as: technical problems, use of non-standard solutions, the search for solutions to increase the effectiveness of e-learning, the transfer of proven applications and programmes, problems with students, problems with parents, and the modernisation of workstations. The data presented show teacher micro-worlds in the time of the pandemic in Poland. The article is a response to the need to understand the processes occurring in the Polish educational system under the influence of crisis events related to the pandemic. The text may prove valuable for educating future generations of teachers in the field of e-learning and increasing the effectiveness of training activities aimed at strengthening the digital competence of current teachers.

Alterity and Repetition. Phenomenological Interpretation of the Divinity in the Later Heidegger

The purpose of this paper is phe-nomenological interpretation of the various faces of divinity in the later Heidegger and elucidation of the human comportment corresponding to this divinity. In the first chapter, I will make clear the relation between ontological difference in the sense of the later Heidegger and the primordial dimension of divinity which is called the last god (der letzte Gott) and the sacred (das Heilige). Further, the relation between such divinity and entity as a whole (das Seiende im Ganzen) will be clarified. In the second chapter, I will elucidate the place of the divinities in the manifestation of entity as a whole by considering the role of the godlikes (die Göttlichen) in the fourfold (das Geviert). When the primordial alterity of the last god should be experienced in entity as whole, which leads to the notion of the godlikes, it must confront human subject in totally asymmetrical manner. Such asymmetrical communication can be structurally made explicit by taking the concept of “discourse” in Being and Time into account. Finally, I will consider the character of human comportment called preservation (Bergung) with focusing on its relation to the later Heidegger’s conceptions of divinity. This will shed light on how human beings could properly appreciate the experience of what is beyond our understanding and nevertheless supporting our existence.El objetivo de la ponencia es llevar a cabo una interpretación fenomenológica de las diversas facetas de la divinidad en el Hei-degger tardío y elucidar el comportamiento humano respecto de esta divinidad. En el primer capítulo, se esclarece la relación entre la diferencia ontológica en el sentido que le da el segundo Heidegger y la dimensión primordial de la divinidad, llamada el último dios (der letzte Gott) y lo sagrado (das Heilige). A conti-nuación, se esclarecerá la relación entre la divinidad así concebida y lo ente en totalidad (das Seiende im Ganzen). En el segundo apar-tado, se elucidará el lugar de las divinidades en la manifestación de lo ente en totalidad considerando el papel de los divinos la Cuaternidad (das Geviert). Cuando la alteridad primordial del último dios se experimente en lo ente en totaliadd, lo cual conduce a la noción de los divinos, tiene que enfrentarse al sujeto humano de una forma totalmente asimétrica. Esta comunicación asimétrica puede explicitarse estructuralmente mediante la consideración del concepto del discurso en Ser y tiempo. Final-mente, consideraré el carácter del comportamiento humano denominado la preservación (Bergung), con especial atención a su relación con la noción de lo divino en Heidegger tardío. Esto arrojará luz sobre cómo los seres humanos podrían apreciar de manera adecuada lo que está más allá de nuestra comprensión y sin embargo, sostiene nuestra existencia.

Theology as an Icon: Phenomenological Interpretation of the Greak Fathers by Jean-Luc Marion

The paper analysesinterpretations of the Church Fathers by Jean-Luc Marion, a leading figure of the French Phenomenology. For Marion, the theological dis­course should function as an icon: the task of theology is to make God manifest as invisible and inaccessible. According to Marion, Areopagite’s theology is not, properly speaking, “apophatic” or “negative”, because the aim of the theological discourse is not to produce either positive or negative statements concerning God; indeed, such a discourse would remain a captive of onto-theology and would function as an idol. Areopagite does not only name God, he praises divine names in prayer. This allows Marion to interpret Areopagite's theology as a per­formative speech act where praise acts by transforming the speaker. This per­formativity, which is proper to the theological discourse, is inseparable from a particular kind of phenomenalisation of God, although the mode of this phe­nomenalisation differs from that of the apophantic discourse. Divine names do not describe God, but praise Him as the Requisite, making the speaker the one who requires. In later works, Marion interprets divine names as “saturated phe­nomena”. The theologian cannot be described as an agent of phenomenalisation of the Revelation, even though he remains a receiver and a medium of this phe­nomenalisation, thus acquiring the status of its witness, the status of a “gifted one” (l’adonné): receiving his very self from what is made manifest in this phe­nomenalisation. The divine name appeals to the speaker, who makes this calling manifest in his naming reply. The Revelation is revealed to the theologian, and hereby the Revelation reveals the theologian himself.

PHENOMENOLOGICAL POETICS OF A LYRIC WORK: METHODOLOGICAL ASPECT

The goal of this article is to present the methodological foundations of the phenomenological poetics of a literary work. The subject of the research is the principles of the phenomenological approach to poetological foundations, the object is the structural-semantic, textual-semiotic features of the lyric work. The author summarizes the experience of different concepts of the phenomenological approach to revealing the essence of the receptive strategy of both artistic consciousness and research practice. The main attention is paid to the structure of artistic consciousness, the peculiarities of its intentional nature, reveals the specificity of various types of reduction, allowing to penetrate into the essence of artistic experience, its aesthetic reception. The article puts forward the concept of a phenomenological interpretation of the structure of a poetic text at the syntagmatic and paradigmatic levels, a metaphysical understanding of the traditionally semiotic concepts of syntagmatics and paradigmatics, which formally set the landmarks of text boundaries in their horizontal and vertical deployment. Based on the ontological and phenomenological aspects of the consideration of artistic space, the text appears as a phenomenon that goes beyond the limits of its own sign definition, becoming an essential-valuable “determinant” and regulator of artistic and research intentions, implying different ways and levels of subjective expression in poetic discourse. In addition to the basic, phenomenological approach, the research methodology consists of the principles of “ontological poetics”, “receptive aesthetics”.

Covenantal trust and semioethics: A reflection on interpersonal and intercultural summoning

The article proposes a reflection on cultural sign production in social contexts dominated by the socially generalized fear of the unknown other and the obsession for vulnerability avoidance. This phenomenon has been reflected in the generalized tendency of reliance upon contractual trust, where the coherence of the signs legitimating a trustful relationship is maintained by external agencies backed by authoritative forums (e.g., religious, legal, political) and sanctioned by well-defined rewards and punishments. In contrast with the contractual model of trust, I propose a different model, covenantal trust. Taking as a point of departure Levinas’s phenomenological interpretation of the responsible self-opening toward the “sign of the giving of signs” which involves covenantal elements, I advance toward proposing a more active involvement of the participants in the process of joint production of signs. This dynamic involvement is made possible thanks to essential elements of the covenant, such as summoning and response. The covenantal approach aims at proposing a semioethical solution to the social challenges emerging from frustrations of members of both marginal and external communities for being treated distrustfully.