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Martin Heidegger: Prolegomena za povijest pojma vremena Preveo s njemačkog i priredio: Borislav Mikulić Demetra, Filosofska biblioteka Dimitrija Savića, Zagreb 2000.
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Martin Heidegger: Prolegomena za povijest pojma vremena Preveo s njemačkog i priredio: Borislav Mikulić Demetra, Filosofska biblioteka Dimitrija Savića, Zagreb 2000.
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The subject of “Psychoanalysis and culture” is one of the three main topic lines Ricoeur moves in his essays on Freud. Ricoeur takes the intellectual challenge of comprehensive interpretation of the Freud’s work and shows his subtle understanding of Freud’s philosophical views. Ricouer tries his best to translate the language of psychoanalysis into philosophy. At the same time he’s aware that psychoanalysis is a profound challenge for someone who previously dealt with phenomenology, existential philosophy and language sciences. Ricoeur sets himself reflective context within his moves. He sets a basis on Freudian interpretations and analysis of art, cultural and psychic phenomena. Ricouer proposes to take research on psychoanalysis in relation to the hermeneutic tradition, and more specifically, the hermeneutic conception of meaning. However Freud in his work often deals with the meaning of dreams, slips or neurotic symptoms. Such understanding of psychoanalysis allows for a deeper interpretation of human internal states, it also interprets the signs wielding a mental life. So how does look and what is the project of hermeneutic interpretation of psychoanalysis? What is the place of psychoanalysis in the culture movement?
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By applying the concept of sensation by J. Mureika and R. Ingarden’s insights about substantial features of values, one aims at revealing the composition of the value of sacredness. The discussed features of the mythical attitude are related with the experiences of sacredness, one emphasizes the relation of the archaic human with nature and the sacredness of the whole true-life environment. With reference to the studies by V. Vyčinas, mythical thinking and understanding is revealed. The conceptions of sacredness are analyzed, one looks for the structures determining the identification of this value. The values of sacredness in the states of substantial dimension and their expression in the states of varied consciousness are emphasized. Five dimensions are distinguished in the multi-edged substantial matrix of the value of sacredness: epotic and emodic determined as potential, two intentional as individual and group sensations, and the plane of specific material forms. The conclusion is made that the sensation of the value of sacredness is inferred as a special, miraculous experience of the relation with gods in which one can find the being of the Great Absolute.
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“Body” is here understood prima facie as biological, organic body (Körper). This article claims, that ignoring this aspect of human being is wrong, because many important anthropological and existential phenomena are based on reality of Körper, not only Leib. “Reality” of human body is understood as a constitutive element of a human being’s essence, without which one cannot be a human. First were presented Heidegger’s critique of philosophical anthropology and concept of animalitas. According to the author of Being and Time, referring to biological corporeality is secondary to fundamental ontology. This article criticizes Heidegger and claims, that many phenomena indicated by him are primary understandable only by paying attention to organic dimension of human body, dimension underestimated by Heidegger. Then, a number of „existentialist” aspects of human life were presented, and their consideration confirms that it is impossible to gain insight on a human if his corporeal dimension is ignored.
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The article notes that at the turn of 19-20 centuries formed a new vision of the human self which was different from the previous one. It is built not on the basis of self-reflexive and involves oneself, which is mediated by the presence of "significant other." However, attention is focused on the common moment of reflexivity thinking about both periods. That is what is the basis for a vision of modernity or as "radical modernism" or as "communicative rationality," or as the manifestation of modernism. The study examines the social and philosophical concepts contemporary / modern. A comparative analysis of this concept in the representatives of modern Western philosophy from the point of view of their involvement in the educational process of rethinking the epistemological paradigm is made. Based on a brief historical and cultural retrospectives we propose typology of approaches to the definition of "Contemporary / Modern".For philosophical, especially for social and humanitarian thinking of the 20-21 centuries the reception of the historical experience is a characteristic feature and the basis of the constitution in the modern world. The studying of history is not limited only itself; it is the mean of better understanding of the reality in which we live, according to M. Foucault a manifestation of "concern for the present". In this context, the question arises the definition of the concept of "modern / contemporary" in a number of the concepts of "past" and "postmodernity / postmodernism". So this distinction serves as a methodological basis for a deeper understanding of the historicity of human experience, including the teaching of philosophy, social and human sciences in the classroom.After analysis of recent researches and publications, it is obvious that criticism of "modern", initiated by postmodernists, has been a significant incentive to expand the discussion about the essence of modernism / modernity in philosophical and social sciences. Analyzing the theoretical foundations of ideas about modernity, represented by such iconic figures as European philosophy J. Habermas and J. Lyotard, whose views on the essence of modernism vary, we tried to supplement their abstract positions by sociological calculations. In particular, the article examines the creative achievements of A. Giddens, a British sociologist who has considered the present as radical form of modern and the U. Beck, a German social researcher with his concept of modern as a society of risk.Our goal is to attempt the typology of the approaches of modern and determine their essence by analyzing views on modernity, represented by the following contemporary philosophical and sociological traditions as J. Habermas, J. Lyotard, A. Giddens, U. Beck.The concept of "modernity" or "modern" has several meanings. Firstly, the word "modern" appeared in the 5 century B.C. and described the present situation – the Christian modernity fought against the Roman pagan past. Since that period, "modern" called themselves any present, aware its difference from the previous past. People considered themselves "modern" in the era of Charlemagne, in the 12 century and in the period of the Enlightenment. Until the 17th century, classical ancient samples of the "right" were considered to be a standard.Secondly, the understanding of "modernity" deteriorated during the Enlightenment, when the ancient ideal of "perfection" was problematic. Associated with the development of science progressivist vision of the learning process and the associated idea of better social future became the basis of an abstract opposition of "modernity" against tradition, "getting free from all historical links". The vivid embodiment of the new opposition became famous controversy "ancient" and "new" in French aesthetics of 17-18 centuries. The idea of "perfection" found its incompatibility with the idea of "new" in art. "New", based on the philosophy of R. Descartes, insisted on the freedom of judgment not only in the study of nature, but also in the field of aesthetic taste. Criticizing opponents by uncritical and dogmatic adherence to ancient authors, they insisted on the idea of progress. "We must recognize – Auguste Conte wrote – that the idea of progress as something necessary and began to take definite philosophical content and actually attracted public attention only after the famous". The controversy between ancient and new, " brilliantly came to the forefront of a new time. This controversy’s value still remains without a proper assessment, in my point of view, a real event prepared universal history of the human mind."Modernity" in philosophy and cultural studies of the 20th century often means "New Era" (17-20 centuries). First of all it is the Enlightenment, with its humanist idealization, or meta-narrative. The term "meta-narrative", J. Lyotard used and considered the modern is completed, than A. Giddens or J. Habermas. Modernity appeared in 16-17 centuries and created at the same time a new type of personality. Its first manifestation was the autonomy of the believer that has been reached and justified by Protestantism. Although at the turn of 19-20 centuries the new modernity formed and differed from the previous view of human self. It isn’t built on the basis of self-reflexive and involves oneself which is mediated by the presence of "significant other". This is the basis for the vision of modernity as "radical modern" (A.Giddens) or as a "communicative rationality" (J.Habermas), or as a manifestation of modernism (D.Bell).
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Purpose of Article. The purpose of the article is to identify the main concepts of Phenomenology of a Holiday, which are structural subsystems of Phenomenology of Culture. Methodology. The methodology involves using of the scientific methods such as typology (to identify the key characteristics of the need holidays); phenomenological reflection (to differentiate phenomenal forms of the "stream of consciousness" and deep intentionality "pure consciousness"); cultural approach (to analyse the nature of the phenomenon). Scientific novelty. The scientific novelty of the research is to determine the nature of the phenomenon. The proposed classification of the basic conceptions that characterize Phenomenology of a Holiday. The latter is a subsystem of the Phenomenology of Culture. Conclusions. Phenomenology of a Holiday is a subsystem of Phenomenology of Culture. It includes creative activity of organizers and participants of any holiday. In addition, it has its own individual differences. Phenomenology of a Holiday is the "Alma mater" of the festive culture phenomena, a ritual, a ceremony, a rite. It considers reality and illusion as ambivalent effect on the audience. All in all, Phenomenology of a Holiday implements functions of holidays that are the concepts of Phenomenology.
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In the paper we analyse the concept of the “objective enemy” at the ontological and political levels. The hypothesis of the paper is that “objective enemy” is not being, rather it is non-being, and therefore one does not exist as an concrete, realistic being. The thesis is set in an ontological framework that being must have unity, immutability and recognizable form that was shown in the ontological premises of Parmenides, Plato, Aristotle and Husserl. At the level of philosophical and political analysis in the theoretical concepts of Carl Schmitt and Hannah Arendt, it is evident that the “objective enemy” does not exist as a concrete being, but only as being invented by the concept that is not adequate to its own subject. This means the untruth in ontological sense. The work draws attention to the danger of the term of “objective enemy” that does not correspond to the real beings, also evident in the Croatian political discourse in the example of the terms: “Fascist”, “Ustaša”, “Četnik”, “Yugo-communist”, and others.
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Central theme of research in this text is reflected in one issue on relation between democracy and freedom, which is an ancient issue and yet even nowadays so up- to- date and even a crucial one. The question is: Is there democracy without freedom? And also is there freedom without democracy? What has been experience of current civilization in that domain? Author of the text focused on liberal democracy and its opportunities regarding accomplishment of freedom of human being in modern world. On the basis of the author’s insight into the phenomenology of Serbian political reality it is concluded that accentuated calls on democratic values paradoxically enough have lead to “a lack” of human personal freedom. Precisely, an individual’s freedom stays limited in the domain of “defining of personal choice”, while in reality such choices are becoming more and more limited. Looking from this point of view it turns out that a famous thesis of Francis Fukuyama on coming of “the end of history” is a problematic one. The thesis is that liberal democracy, having achieved “a victory in the Cold war era”, has attained an absolute predominance in modern world environment – as a definitely established model of political organization and the way of life suitable for all states, by which the end of history has come to reality as well. However, many facts state a totally different state of affairs: the abovementioned ideologized and instrumentalised “announcement of the end” has totally omitted a fact that the main ideological war has been going on between liberalism and democracy. In the text the author “proved” on several comparative levels of argumentation a thesis that an intense war against democracy – whether it has been made undercover or openly – has been led by the people who have publicly declared themselves to be liberals. While making this point, the author paid attention to the role, significance and activity of so- called alternative non- government organizations asking a question regarding them: What exactly is their impact on creation of a “social environment” that favors liberation and development of democratic processes in our surrounding? While arguing that it is exactly the human rights, that have been so strongly insisted on, which are increasingly becoming a powerful political and ideological tool in politics, the author concluded that a real objective and purpose of each democratic order are a stable state, self- conscious people, free individual and a righteous and moral social community.
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The aim of the article is to reveal that Heidegger’s philosophy established the conception of nonrepresentational language, which is close to No theatre and the postmodern scene where dialogue as such disappears. Rejecting the traditional concept of Logos, Heidegger conceptualizes the language from the perspective of oriental indeterminateness. As No theatre gesture does not match with referential reality, language does not match with a natural expression and thus it primarily opens what it is said. It is such a poetic language which not having a clear speaking but only “contours sketching utterance” is expressed by the openness for the world, at the same time leaving some space for silentness. This particular moment of openness enabled Gerald Bruns to compare Heidegger’s language conception with Jacques Derrida’s concept of différance. Unlike the latter, Heidegger’s différance refers not to an empty space but to another dimension of existence where consciousness, language and meaning veil. Their place is taken by sound, rhythm, tonality, voices and vibrations that do not require understanding – all the things that are dissociated from a specific signification and manifest the being itself. From this point of view, Heidegger’s conception of language is compared with such postmodern theatre which manifests itself as a poetic message. What is being said here is understood as what is revealed (reality) and what veils (signification), and that is no longer a referential meaning of dramaturgical text “grasped” by understanding. In this type of theatre, language is free from rational logic explanations and is usually created lively on the scene, allowing it to flow freely, following its very course, emphasizing the transcendent birth of language or its negative sides – boredom, emptiness, inability to express the meaning, impossibility of significance. Naming Antonin Ataud’s theatre of cruelty as the predecessor of such an expression, theatre critics’ discussions about reality in modern and postmodern theatre that rose in the context of Jacque Derrida’s criticism of metaphysical Western tradition have been presented. It is argued that postmodern performances do not seek for reality but they create it through the energetic interactions of objects and performers. As examples of such an expression in the Lithuanian theatre, Eimuntas Nekrošius’s productions “Genesis. Donelaitis. The Seasons”, “Song of Songs” and also performances of Edmundas Leonavičius, Skaidra Jančaitė, Benas Šarka have been analysed.
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The paper focuses on Quentin Meillassoux’s After Finitude. If presented there arguments (based on concepts of arche-fossil and ancestrality, contingency, factuality and unreason) are valid and refute the fundamental thesis of correlationism – impossibility to access the reality outside correlation between thinking and being – then we should be able to exceed it form the scientific ground it was formulated upon and to apply it to theory of culture. The paper considers that possibility and follows the consequences of such broadening. What is culture in speculative realism’s ontological paradigm? How to grasp cultural reality that is no longer a correlate of human subjectivity? Culture, its processes, objects, networks would not be human any more, ontologically. Rather, one might say, it emerged that culture is non-human. However, these questions and indications have now existed for long time in philosophy of culture, theory of culture, anthropology, cybernetics, media studies, ecology and many other disciplines. Issue that arises in regard of prior is the problem of theory of culture within speculative materialist perspective. If one acknowledges the arche-fossil argument, one cannot continue to approach culture in structuralist or phenomenological current. Meillassoux claims that mathematical ideation describes the objective structure of reality as it is in-itself. If mathematisation is the condition for theory, how can we theorise culture? The aim of the paper is to problematise the concept of culture and theory of culture in perspective of Meillassoux’s speculation.
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This paper makes reference to a series of controversial aspects which were awakened by Christian Metz’s work over the course of his active life and are still in the spotlight thirty five years after his demise. The persistence of the wide array of points of view regarding his insights may very well have resulted from both his importance and the epistemological difficulty the different discursive objects entail, especially those of a mixed nature as is the case of cinematography, which unleashed his inquiries. Within the framework of three works dedicated to the author by Dominique Chateau and Martin Lefebvre, Charlotte Bouchez and Omar Hachemi and Eliseo Verón, a set of issues concerning the interplay between Metz’s work and phenomenology, semiotics and discursive specificity are discussed. Finally, this work aims to deal exclusively with those central aspects of the author’s realm which are essential to address the mediatisation processes arising nowadays.
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The article deals with scientific approaches to creative society by defining its research methods and main problems. According to the author, a study of creative society needs a complex approach that covers sociology, philosophy, history, economics, communications, and art researches. Accordingly, the different research methods used in these sciences are to be applied. These methods include the quantitative and qualitative sociological methods, philosophical reflection, historical (civilization) analyses, economic perspectives, management attitudes, analyses of art pieces and their influence towards social development, media and communication contexts. By analyzing creative society the following problems emerge: how to define creative society; how to distinguish creative class; what is creative capital and what relationship does it have to social capital; how to manage creativity; what art life forms a creative environment; what is creative ecology; what is creative geography; what is the environment of creative communities; what is the relationship between politics and creativity; what are the creative aspects of the entertainment industries; what is the social environment of creation; how does a creative individual influence the social environment; how does one measure the creativity of society; what is the relationship between creative society and the creative individual; what is the phenomenology of creative environment?
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The review of: „The Phenomen of Emptiness. – Spread of Emptiness in Daoism, Phenomenological Philosophy, Chinese and Western Aesthetic and Art“ by Agnieška Juzefovič; Vilnius: Technika, 2014. p. – 272 p. ISBN 978-609-457-479-5 The notice contains the review of the monograph by Agnieška Juzefovič The Phenomen of Emptiness. Spread of Emptiness in Daoism, Phenomenological Philosophy, Chinese and Western Aesthetic and Art. The reviewed book is an excellent example of comparing civilizations in the context of arts – specifically the visual arts of two distinct trends of thought: Phenomenology and Daoism. The author manages to link two very distinct traditions and historical periods by way of disclosing a common phenomenon – that of emptiness – and its diverse readings, forming a unique logic of sameness and difference. While the comparisons are complex, involving methodological and even theoretical debates, one thing is clear: the text presents the phenomenon of emptiness and the artistic diversity of the two traditions and unfolds an appropriate method suggested by the visual arts and their theoretical components. In this sense, there is no a priori imposition of one tradition on another that would be counter to fruitful investigation. The author is specifically keen to maintain that emptiness is not some sort of metaphysical postulate which „explains“ all events and their artistic depictions; rather, the artistic depictions yield the all pervasive presence of emptiness in the arts and theories both of Daoism and phenomenology. It is made clear that the latter has done a credible job in showing that the very horizon of any given thing, action, pronouncement is structured mostly by empty or unfulfilled possibilities. It is to the credit of the author that she does not overstate her case by hastily transgressing the subject matter of her investigations. In this sense, the text is groundbreaking and most revealing the contact between two distinct civilizations. Obviously, there are numerous suggestions for further research which – we hope – the author will pursue.
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The article discusses a fundamental category of aesthetics, Einfühlung, which correlate with other problems of the creation process: attitude, excitement, experience, imitation, inspiration, sympathie, antipathie, intuition, perception and etc. Imitation sets free a contemplation of the piece of art’s aura which is different from the artwork’s consumption towards self – seeking purposes. Here is interpreted a romantic exaltation of inspiration such as an obsolete prejudice since it don’t create conditions for the development of creative imagination and it mistifies or it distorts the process of the art’s creation. On the one hand, there wasn’t solely enough to sympathie or to antipathie for the perceiver to distinguish reliable an authentic piece of art, for example, from the tatty kitsch. An identification of the authentic piece of art requires perceiver’s delicate world outlook and it’s necessary to his personal efforts. An author of the article investigates Einfühlung not so an abstract phenomenon of reality but he studies it as a living phenomenon of psychological nature which disseminates both moral and aesthetics planes and it acts on amateurs mental processses or it has an effect upon art expert’s psychological attitudes.
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The article focuses on the arguments of the relationship between language and speech in the research of De Saussure (structuralism) and Merleau-Ponty (phenomenological philosophy). It is necessary to admit that nowadays the language is perceived in terms of la langue as it is defined by Ferdinand de Saussure in the Course in General Linguistics. Language is treated as a close system of signs which functions as a social aspect of multiple speech. In the concept of Structuralism of De Saussure the individual act of speech which belongs to the one who speaks termed la parole always surpasses the limiting borders of scientific research as unreliable phenomenon due to its instability and termination spreading in the transience of diachronic time dimension. The analysis of the relationship between the phenomenological philosophy of Merleau-Ponty and the structural model allows to state that theoretical separation of la langue and la parole unreasonably eliminate the latter from the scope of research. According to Merleau-Ponty, objective language analyses relinquishes a very significant feature of intentional aspect of language. Thus, it is very important not only to emphasize the significance of live speech, which assures the relationship between a human and the world, but also to trace valid arguments for the substantiation of the analysis of the individual speech aspect, which was devalued by de Saussure. Moreover, in phenomenological philosophy of Merleau-Ponty Saussurian principle of diacricity is productively extended – it corresponds to philosopher’s phenomenological descriptions of sensory perception.
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In this article, attention is focused on the beginnings of Maurice Merleau-Ponty’s art philosophy as they are presented in his program work Phenomenology of Perception. Also the author tries to explicate the meanings of the fundamental concepts of the work as well as their functions in existential phenomenology. Further he analyses Merleau-Ponty’s turn from the problems of “aesthetic perception”, characteristic of his early works, towards the concept of relation of the artist to his creative work, as inspired by ideas of a “new ontology” in his later works. The peculiarity of Merleau-Ponty’s art philosophy, the problems of the art hierarchy, the subject of artistry, the creative process and style, the piece of art, non finito and many other problems are succinctly discussed. Special attention is paid to artist’s psychical pathologies, that is, the relation of normality and abnormality in artistic work. The thinker’s approach to the expressive capabilities of different branches of art and their relations to East Asian art theories are also inquired.
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The article deals with the influence of the mass media on public space by a comparison with mass media functioning on social space in the philosophies of Jürgen Habermas and Pierre Bourdieu. One of the main problems analyzed in this article is that of communication as a realization ofan ideal linguistic situation which is focused on consensus. The article argues that the concept of a mediated society for Habermas is inseparable from a mass media that shapes public space. Accordingly, mediated society for Bourdieu is inseparable from the concept of a meta-capital field, which, by involving different capitals acquires a dominant position in today’s society. It is proved that the hegemony of the meta-capital is problematic in relation to other fields that form the social space. The article contains the following question: how does mass media work the public space? The article argues that Habermas and Bourdieu’o recognize the fact that the dominant power and influence of mass media to the public space is a problematic phenomenon because mass media negatively transforms the public space.
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The approach of jurisprudence to other social and humanitarian sciences is frequently criticized. On one side, it is argued that the social and humanitarian sciences are ignorant of jurisprudence’s peculiarity; on other side, it is pointed out that the formalization of juridical categories loses touch with social reality. The integration of social sciences into the space of modern jurisprudence is a phenomenon which raises problems. The integration does not solve the conflict between juridical reality and jurisprudence and creates a new reality which is neither entirely juridical nor entirely scientific. Philosophies of law, sociologies of law, a juridical analysis of economy, and juridical political science are crossbreed formations of social sciences. They study social aspects of law and speak of law not only by jurisprudential discourses but also by juridical practice discourses which are discussed in this article.
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The article analyzes the early sources of existential phenomenology of Merleau-Ponty and the ideas of its predecessors and contemporaries. The article focuses on the development of Merleau-Pointy’s phenomenology and its relatedness to Gestalt and Behaviorism psychology, to Husserl’s and Heidegger’s phenomenology, to non-classical “subjective ontology” (Kierkegaard, Nietzsche) and Malraux theories. It also considers the main stages of the thinker‘s creative evolution, his gradual transition from existential phenomenology to the so called “new ontology”, and the growing importance of aesthetic problems during the process. Special attention is paid to Merleau-Ponty’s aesthetics concepts and problematic field formation. His peculiar approach to problems of aesthetics and art philosophy is exposed.
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The author analyzes specific topic of cross-cultural communication between modernist painters of late XIX-early XX centuries and East Asian aesthetic, unveil Oriental influences in works of chosen European painters. Many Impressionist and Post-Impressionist painters were attracted with Japanese prints, collected them and created various graphic work as well as the oil paintings that in their composition, color, and imagery were directly influenced by Japanese ukiyo-e prints. In this paper the main attention is focused toward the works of Cezanne and van Gogh whose apart quite superficial influence of colorful prints also has something common with much more subtle Chinese and Japanese ink painting and aesthetic of Daoism. The author argues that tradition of Daoism as well as Chinese and Japanese ink landscape painting helps to understand direct, pre-reflective look, perceiving a depth of surrounding world and things as they present themselves that could be seen on the artworks of Cezanne and van Gogh. Typical for those painters overpassing of various preconceptions, suspending of traditional viewpoint and ability to get astonished by simple and rude beauty of nature caused that phenomenological philosophers as Heidegger and Merleau-Ponty get interested and thoroughly analyzed their artworks.
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