gabriel marcel
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2021 ◽  
Vol 38 (38) ◽  
pp. 104-120
Author(s):  
Teresa Grabińska

Focusing on trading capital is giving up a certain amount of freedom. What is external, added, and managed, engages the subject in terms of itself, and thus limits him/her. In this way, what is owned, in the process of managing it, somehow uses the one who has it. Reducing human life to manage one resource or another is a soft contemporary form of violence that is growing with the proliferation of computerization, mediatization, and medicalization. This, first of all, causes a threat to personal safety. The article presents a personalist point of view on personal safety, based on a precise analysis by Gabriel Marcel work concerning the relation of the holder to the possessed entity.


Author(s):  
Claudinei Aparecido de Freitas da Silva
Keyword(s):  

O texto se detém numa das noções mais caras a Gabriel Marcel no contexto de sua produção filosófica: a ideia de vida. A vida figura como a expressão mais radical e ampla da experiência, ou seja, como experiência “dilatada” hiperfenomenologicamente. Disso abre-se o horizonte último de uma filosofia concreta: a deiscência da vida como um fenômeno inalienável na qual o vínculo amoroso com o outro transcende, hic et nunc, os limites da própria morte biológica.


2021 ◽  
Vol 69 (2) ◽  
pp. 285-303
Author(s):  
Michał Węcławski
Keyword(s):  

Artykuł przedstawia etyczny wymiar refleksji filozoficznej Gabriela Marcela. Na tle szeregu obecnych w niej kategorii (m.in. próba, zdrada, wspólnota, ofiara, obecność, rozporządzalność, intersubiektywność, miłość) zostaje ona określona mianem heterocentrycznej. Pojęcie to, zaczerpnięte z pism samego Marcela, znajduje tu zastosowanie w celu odróżnienia od ugruntowanych już w literaturze przedmiotu, ale dotyczących zwłaszcza koncepcji późniejszych, nazw w rodzaju „filozofia innego” czy „dialektyka tożsamości i różnicy”; w ogólności dotyczy postawy zwrócenia się ku temu, co inne, które zarazem prowadzi do wewnętrznego samoodzyskania. Przed znajdującym się w drodze człowiekiem stoi zadanie odpowiedzi na wezwanie płynące zarówno z jego wnętrza, jak i z czegoś poza; ostatecznie jego celem staje się, by umocować własne istnienie w głębi rzeczywistości, która je przekracza. Wskazane przy tym zostaje, że etyka Marcela nie unika ontologii, a odpowiedź na pytanie o to, jak żyć, jest nierozerwalnie złączona z refleksją nad byciem.


Religions ◽  
2021 ◽  
Vol 12 (4) ◽  
pp. 236
Author(s):  
Barnabas Aspray

Liturgical worship has at times been controversial within parts of the Christian tradition. This article uses phenomenology—especially the thought of Paul Ricœur, Maurice Merleau-Ponty, and Gabriel Marcel—to analyse, evaluate, and respond to five common objections to liturgy by those who reject it: (1) the absence of freedom and spontaneity, (2) the absence of authenticity, (3) the use of symbols to mediate the divine, (4) the use of the liturgical calendar, and (5) liturgy’s repetitive nature. This article concludes that those who practice liturgy have something to learn from each objection, but that none of the objections invalidates liturgy. On the contrary, what phenomenology teaches us about the human condition suggests that liturgy is more suitable than forms of worship that try to do without it.


Religions ◽  
2021 ◽  
Vol 12 (3) ◽  
pp. 164
Author(s):  
Hannah Lyn Venable

This essay addresses the question of virtual church, particularly on whether or not liturgy can be done virtually. We will approach our subject from a somewhat unusual perspective by looking to types of aesthetic experiences which we have been doing “virtually” for a long time. By exploring how we experience art in virtual and physical contexts, we gain insight into the corresponding experiences in liturgical practices. Drawing on Mikel Dufrenne, Maurice Merleau-Ponty and Gabriel Marcel, I first examine the importance of the body when we experience “presence” in aesthetic environments. Next, I consider the weight of the body in experiences of presence in liturgical practices, both in person and virtual, guided again by Gabriel Marcel as well as Bruce Ellis Benson, Emmanuel Falque, Christina Gschwandtner and Éric Palazzo. Through these reflections, I argue that what art teaches us about the significance of the physical closeness of the human applies to the practice of liturgy and that, while unexpected benefits will surface in virtual settings, nothing replaces the powerful experiences that arise when the body is physically present.


2021 ◽  
Vol 17 (1) ◽  
pp. 69-79
Author(s):  
Kevin Robins

Abstract This article explores issues covered in Wuhan Diary, a day-by-day account by the Chinese author Fang Fang of her experiences during the height of the pandemic crisis in the city of Wuhan during the early months of 2020. It seeks to bring out what is distinctive and innovative about the text. Most notably, this concerns the mobilization of social media, such as Weibo and WeChat, as a basis for social communication and the dissemination of information within and beyond the city. The resultant text is not a diary in the conventional sense but, rather, a vast montage of diverse kinds of material that have been electronically cut up and pasted together. A particular focus of the discussion concerns ethical support and solidarity among citizens of Wuhan at this time of acute disruption. In this context, the article suggests a significant, and maybe surprising, affinity between Fang Fang's immediate concerns and issues raised in the ethical philosophies of Paul Ricoeur and Gabriel Marcel.


Author(s):  
Alberto Gil

Evidentia is a concept passed on to us from rhetoric – more precisely from the third of the five canons of classical rhetoric, namely elocution. The goal of this canon is to achieve a stylistic quality that enables the listener to see what (s)he hears with his or her inner eye, i.e. to enable the listener to really visualize what is being said. Fritz Paepcke – whose one hundredth birthday we celebrated at this conference – applied the concept of evidentia to the field of translation studies. Within his conceptual framework, he portrayed it as a new experience – one which arises immediately, i.e., not through induction or deduction, but “as a result of the rule-governed and yet playful process of developing the most adequate wording of a translation” and from one’s interaction with the text. Paepcke did not, however, elaborate on this “intuition of intuition.” This article attempts to further develop the concept evidentia rhetorically and philosophically and to apply it to the field of translation studies. Two conceptions are particularly instrumental here: 1) The concept of fidélité créatrice as elucidated by the French philosopher Gabriel Marcel – to whom Paepcke often referred – as well as 2) the conceptual approach underlying and informing the research center Hermeneutik und Kreativität. In the latter, the processes of understanding and translating / translating and understanding are conceived of as being bi-directional and interdependent; this conception, which fuses understanding with empathy, is making new, significant inroads into translation studies. The notion of evidentia will be exemplified here using an empathetic Italian translation of a very young poet – Selma Meerbaum-Eisinger.


10.5840/20215 ◽  
2021 ◽  
pp. 109-127
Author(s):  
Alberto Gil

Performance plays a decisive role in both everyday and artistic communication because it is always important to achieve effects. The question of the nature of this effect touches on central aspects of knowledge in general, i. e. whether it is about the realisation of a personal view of reality or whether reality itself realises its effect with the help of the transmitter. The classical concept of mimesis (i. e. the effort to imitate nature) strikes a balance between the subjective and the objective side of truthfinding. In translation studies, too, the concept of performance plays a central role, since every translation is in principle an assignment that is given specifically, with certain objectives. From a translatological point of view, one term of modern philosophy, or more precisely a term coined by Gabriel Marcel, proves to be particularly fruitful for this: fidélité créatrice. Faithfulness to the original is not strict reproduction, but rather the constant updating of essential elements in the service of a goal to be achieved. In this article, the translational performance thus understood will be presented in three variations and illustrated by means of examples. Firstly, it will be a matter of recognizing the performance of the original and trying to ‘effect’ it anew. Secondly, the performance underlying the multiple translation, which corresponds to new and changed intentions, will be examined. Thirdly, translation is to be seen as the performance of a translator as an individual who ‘puts his or her own stamp’ on it. It will be recognized that by orienting oneself towards the concepts of mimesis and fidélité créatrice, fidelity to the original in terms of an active search for deeper layers of its meaning is not only of hermeneutical significance, but also unfolds a relevant performative power.


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