NON-INTENTIONAL COMPONENTS OF INTENTIONAL PHENOMENOLOGY

В статье проблематизируются аспекты гуссерлевской феноменологии, которые становятся отправной точкой для новых феноменологических теорий. Эти теории преодолевают затруднения, с которыми сталкивается классическая феноменология, такие как данность истины, историчность субъекта и «пустые» интенции. Неклассические теории предлагают свое дополнительное поле рассмотрения, в котором данность феномена необязательно носит интенциональный характер. Наиболее значимыми из них являются концепция «Другого» Э. Левинаса и «насыщенный феномен» Ж-Л. Мариона. Показано, что данные проекты позволяют работать с новыми классами феноменов. The paper questions some aspects of Husserlian phenomenology which have become a starting point for new phenomenological theories. These theories overcome difficulties of the classic phenomenology, such as: the givenness of the truth, historicity of the subject and «empty» intentions. Non-classical theories offer their own additional field of inquiry, where the given of the phenomenon isn't necessarily of intentional character. Among them, most substantial are conceptions of «The Other» by E. Levinas and «saturated phenomenon» by J.-L. Marion. The paper shows that these projects allow us to work with new kinds of phenomena.

The Phenomenon of the New in the Context of Social Media

This paper analyzes the phenomenon of the new in the context of social media using the interpretative phenomenological approach based on interviews with social media users. The new, which is mostly used as an adjective (a property), in this paper is treated as a noun (an object), a phenomenon of perception described in three aspects: (1) as the future in presence, (2) as the opposite, (3) as a value. Usually, the new is associated with time, but in the context of social media perception, it rather appears as a value-saturated phenomenon. Two opposing attitudes can be distinguished: on the one hand, the new is seen as a desired progress, on the other hand, it includes an alienation from the being. This alienation also prevents us from seeing the new media as it is.

PHENOMENOLOGY AND HERMENEUTICS OF REVELATION. TWO-VOICE OF PAUL RICOEUR AND JEAN-LUC MARION

Revelation is a key category for both phenomenology and hermeneutics. The first domain deals with the possibility of revelation, while the second through its interpretation seeks to understand the reality. Hermeneutics of Paul Ricoeur is characterized by a focus on understanding the human ipseity (soi) and as such refers to phenomenology. Ricoeur is the author of the term 'hermeneutic phenomenology'. Initially, he emphasized the separation between the revelation of the sacrum and the verbal message of religious traditions. With time, however, he noticed that the religious word assumes the functions of numinosum, becoming a place of revelation. After all, Ricoeur remains on the content side of revelation, and therefore the phenomenology of Jean-Luc Marion, who treats revelation from a purely phenomenological point of view, is a valuable complement to this research. Revelation is the giving of the phenomenon as such, on its own initiative, starting from itself, independent from the subject, saturated phenomenon. From this two-voice of Ricoeur and Marion emerges a full picture of the philosophy of revelation, confirming at the same time the need for cooperation between phenomenology and hermeneutics

Intuition and Excess: Mona Hatoum's Measures of Distance and the Saturated Phenomenon

This article argues that Mona Hatoum's video Measures of Distance presents us with an example of Jean-Luc Marion's saturated phenomenon. Partial and deeply textured images of Hatoum's mother have prompted scholars to explore questions of absence, exile, intimacy and loss. In contrast, I focus on the presence of the mother and her manner of appearing. I suggest that Hatoum's mother appears through an excess of intuition, the video itself coming into our consciousness as a particular configuration of Marion's notion of givenness. In this phenomenological understanding, Hatoum's mother escapes objectification not merely because of the aesthetics of layering but because the scale of the givenness of her appearing exceeds any objective conception of it.

Is God a Phenomenon? A dialogue between Kierkegaard and Jean-Luc Marion

The present article analyses critically the paradox of phenomenon claimed by Danish Philosopher Kierkegaard and Marion’s new concept named saturated phenomenon. While the concept of God, by definition, must surpass the realm of empiricism, perhaps the something may shed light over what God must be: Excess. However, Marion developed a new concept of phenomenon that not only occupies the immanence world, but also goes beyond. It is called saturated phenomenon. In order to address the question one might understand the limit of the givenness and then what does it mean saturated givenness. We probably all have had the sense of being overwhelmed by something and this can lead toward a sense of torpor or numbness. In the other hand, Kierkegaard affirms that God is so different than a human being, so totally other that we may think we’re right in demanding God make himself understood and be reasonable towards us. Kierkegaard upholds that we’re always dealing with God in the wrong way. I will argue that Marion, however, following phenomenological footsteps indicates a new path toward how to address God properly. Key words: Paradox; Saturated phenomenon; freedom; Excess.

Unsettling Monstrosity in Rhymes for Young Ghouls

Rhymes for Young Ghouls (2014), written and directed by Mi’kmaq filmmaker Jeff Barnaby, is primarily presented as a residential school “revenge fantasy.” Some critics and reviewers of the film value it for its pedagogical possibilities, arguing that the film occasions opportunity for dialogue between Indigenous and non-Indigenous audiences about the legacies of the residential school system. Yet, numerous decolonial scholars and activists understand that dialogue alone cannot effect the quality of decolonial justice needed in the wake of genocide. This article approaches the film as a saturated phenomenon and examines the kinds of radical phenomenological transformation that must occur, especially among non-Indigenous audiences, for decolonial imperatives to become legible. Beyond developing a more comprehensive historical panorama of the violence and legacies of the residential school system, this article calls for a kind of translation of experience occasioned by the film, one that dramatically subverts and transforms modalities of consciousness on which coloniality is predicated.