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The present contribution discusses some determining patterns in contemporary continental philosophy as evidenced by the work of Jean-Luc Nancy and Giorgio Agamben, viz. theoretical antihumanism and the crisis of the a priori. It argues that the return of a post-humanist variant of the anthropological doubles in the work of Michel Foucault is no isolated phenomenon and that, hence, the historical a priori of modernity is less defined by transcendental subjectivity than by the series of doubles to which even the criticism of transcendental subjectivity still succumbs. Furthermore, this contribution argues that a crisis of the a priori presents itself in the post-humanist variant of the anthropological doubles. It makes clear that, according to Nancy and Agamben, (i.) there are transcendental structures that organize the empirical domain and to which one has access within this domain (the empirico-transcendental double), and that (ii.) access to the empirical domain itself is governed by the very transcendental structure to which the empirical domain opens (the crisis of the a priori).
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In this paper the attention is focused on the emergence of mental/rational thinking (level of consciousness), particularly in phylogenetic context, which is largely characterized by a deviation manifested in suppression and marginalization of the bodily. Namely, it is the emergence of the mental/rational which presents the beginning of the mentioned deviation (in mythic discourse presented and celebrated as the victory of the Hero over the Great Mother), that is, the suppression and marginalization of all that which has been or still is associated with the bodily: sexual, feminine, unconscious, nature, etc. Lastly, the starting point of this paper is that, through the deconstruction of the mind–body dichotomy, we need to awake the fundamentality of the bodily and thus, instead of suppressing and dissociating it as mentioned (which marks a considerable part of the Occidental history), transcend and integrate it healthily (which is characteristic of the integral thinking, that is, the integral level of consciousness).
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Considering the three orders in the cosmic assembly (macrocosm, microcosm and mesocosm), using an integrative analysis of cosmological understandings of variously-oriented metaphysicists and scientists, I firstly reach to a conclusion on entanglement of two developed cosmic principles that define the relational totality of objects and meanings. The first I term gathering- one-allness, which I describe with arhe-complex. The second I term itself-against-striving, which I describe with eris-complex. On the basis of a shift from enclosed systems (non-living being) to open systems (living being), I elaborate how arhe- and eris-complex create logoscomplex and agon-complex and in what way this new entanglement passes through corporeality (microcosm) to society (mesocosm), in the broadest sense appearing as a strife between realpolitics and utopian striving. In further development, I suggest an articulation of the current world state with the term biopolitical agon in which the power flows through infosphere relays. It is based on dismembering the living into convertible information that contains power in the ability to regulate and be regulated, i.e. the ability of the biopolitical to subdue logos with agon through logos itself, which I attempt to explain by matching this issue with previously mentioned phenomena. With corporeality as an instrument of transformative bitisation, I further discuss societal leaning towards cancelling the original purpose of logos-complex and depowering it regarding the control of bodily articulation of its own purpose-defining. This I shortly outline and then route back to the research’s starting point.
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Kada je 1980. godine u Parizu utemeljen Centar za filozofska istraživanja političkog (Centre de recherches philosophiques sur le politique), njegovi su osnivači Jean-Luc Nancy i Philippe Lacoue-Labarthe istaknuli nužnost propitivanja biti političkog, i to polazeći od pojave koju su nazvali le re-trait du politique (povlačenje/odstupanje/uzmak političkog). Pod tim su pojmom podrazumijevali opću poznatost političkog u smislu “očiglednosti (zasljepljujuće očiglednosti) politike” odnosno shvaćanja “da je sve političko”, ali i otvaranje pitanja biti političkog na potpuno nov način (Nancy i Lacoue-Labarthe 1981: 18).
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Refleksija Mauricea Blanchota o umjetnosti i književnosti ima najviše moguće ambicije. Interpretacija Hölderlina, Mallarméa, Rilkea, Kafke, Renéa Chara, podastrta u njegovu posljednjem djelu Književni prostor, ide dublje od najoštrije kritike, djelo se zapravo smješta s onu stranu svake kritike i svake egzegeze.
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Ne može biti sumnje da Nijemci danas moraju pronaći novi odnos pre ma svojoj povijesti. Četrdeset godina prošlo je otkako je nakon užasne katastrofe jedan dio njih u Saveznoj Republici dao Temeljni zakon, dok je drugi u Njemačkoj Demokratskoj Republici morao krenuti drugim putovima.
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Kad su u ožujku 2014. objavljena Heideggerova »Promišljanja II-XV«, niz Crnih bilježnica, ko je je sam tako zvao, postalo je očito da se ti tekstovi razlikuju od svih dosad poznatih Heideggerovih spisa. Oni kao da jasnije i neposrednije govore o filozofskim motivacijama i intencijama, kao da jasnije pokazuju protiv čega se okreće Heideggerovo mišljenje tridesetih godina, i dokazuju da se Heideggerovo mišljenje krajem tridesetih godina, u okruženju Drugog svjetskoga rata, otvara prema antisemitskim idejama.
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Schwarze Hefte (»Crne bilježnice«) Martina Heideggera, a prve tri su nakon tiskanja u Njemačkoj nedavno izazvale veliku kontroverzu, naposljetku će biti objavljene kao osam posljednjih svezaka njegovih gigantskih Gesamtausgabe (»Sabrana djela«).
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The article reflects light–colour phenomena functioning in prerational human experiences and their essential characteristics are being sought. Light colour experiences are revealed through the sense paradigm and phenomenological intuitions: direct-life and eidetic essences. The unique light–colour sense is associated with the spiritual depths of a human being, the field illuminated by consciousness, transcendence dissemination, creative forces and the openness of sacrality dimensions. The sense is granted the metacategory status and an integral feature to include all great continuum of direct human experiences. The article analyses M. Heidegger’s concept of sense, J. Mureika’s concept of sense and presents the levels of sense structure. The light–colour sense means the following: the light of consciousness – creation work – love – beauty – fullness – sacrality. While searching for clean givens in the light–colour sense, the original qualities of the world, a strong sense of beauty and holiness is found. The light–colour syncretic experience includes one of the sense modalities. The conclusion is as follows: the multidimensional structure of the sense covers subconscious, conscious and superconscious dimensions and participates in founding values; the light–colour sense vividly unfolds at the level of sensitive symbols and in the sense of sacrality; most of this experience remains unspoken.
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The main hypothesis of this paper states a dual perception of the hunting phenomena in Baroque culture. On the one hand, this action was a specific activity of the noble people during their leisure time. On the other hand, poetics of hunting spread into the existential level and became the main allegory in order to express the way of being. This research is based on three artistic manisfestations (the poem “Silviludia” by the Lihuanian poet M. K. Sarbievijus, the Dutch baroque painting by Rembrandt and the sculptural composition of the Zapyškis Church in Lithuania). The main theoretical basis is the phenomenological approach, especially the “Meditations of Hunting” written by José Ortega y Gasset. Nevertheless, these tools are revealed as not sufficient to the Baroque material. Postmodern deconstructive approaches are needed. The hunting discourse in the Baroque culture does not obey to the Great narrative and splits into multiple variations of representation: as the allegory of the society of court, as the way of ironical thinking and desacralisation.
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The aesthetics of the poem In a raspberry bush, its phenomenology of sensuality is based on the contrapuntal combination of contrasts: spatial (like road / sideways), temporal (moment / eternity), visual (visible / invisible, light / dark), tactile (caress / no caress), somatic (closeness / remoteness of bodies ), audible (sound / silence, speech / silence). An important area of sensuality in this series of poems is created by affective lexis: jealousy, anger, pain, despair, longing and – just like in the Song of Songs – numerous evocations of „fragrance”. According to Bolesław Leśmian, „the author of Song over songs, evokes the whole refrains of feelings and thoughts, recalling in turn – the eyes of his lover, her breasts, lips and braids”. This rhythm – as a component of matter (body) and memory – organizes the content of the work; the content, which consists of a series of breakups and returns, mutual search and discovery, delights and disappointments, exhortations and responses, night and day, life and death.
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The impetus for the reflection on silence and painting was an invitation to one of the regular discussions of artists and theoreticians that take place within the so-called synodal process in the parish on Teplice Street in Bratislava. Its topic was the question of painting before which one can pray. To understand how a painting is silent, how it is silent to us, whether with us or in us, can only be understood against the background of the idea of how it can speak to us, how it can resonate with us, speak to us, talk to us. Against the backdrop of phenomenological analysis, the essay seeks to outline the ontology of silence, the interrelationships between silence and discourse, silence and painting, and finally the relationships between space, painting and prayer.
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Russian Formalism’s suggestion that artistic literature makes the familiar strange finds echoes in today’s theories of “unnatural narrative.” “Naturalization” of seemingly strange texts understands uncanny literary effects as based on qualities of “natural” spoken language. Sifting through structuralist, pre-structuralist, and psychoanalytic musings on second-person fiction or similar effects in interpersonal relations, all largely neglected as studies of second-person narrative were popularized among theorists and critics over the past thirty years, this article theorizes readers’ ‘realization’ or ‘virtualization’ of second-person address, narratorial apostrophe, and second-person protagonists. One reason we have no agreed-upon, comprehensive chart explaining second-person address’s variable effects on various readers (with an appreciative nod to Sandrine Sorlin), is not that no such chart is impossible — but simply that any such chart would be complex. Such projects might be nuanced by earlier thoughts focused on more general theories of psychology, phenomonology, and human exchanges. This requires more reflection on the fuctions, formulations, and effects of second-person narrative, but also more thinking about its affects.
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What does it mean to encounter a literary work of art? When we talk about them, we refer to literary works as characterizable entities. In a genuine encounter with a literary work, instead, our focus shifts to “what it is about”: we bring to mind the intentional objects it invites us to direct our attention to, typically through reading. If what we encounter is a work of art, however, we are invited to do something beyond that even, namely to attune ourselves to disclose something more profound. Through shifting our focus from the individual to the typical and affectively responding to a work’s characteristics, we disclose a qualitative character that presents itself as of general relevance insofar as it characterizes a specifi c kind of thing potentially experienced in the world. Our focus shifts from individual intentional objects, such as a character’s view of her partner as standing in need of salvation, to the kinds of values and things manifested therein, such as the peculiar kind of ambiguity inhering a specifi c kind of commitment. To encounter a literary work of art, I conclude, means to follow the invitation to disclose value essentials, and thus to fi nd a specifi c kind of truth.
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In this article, the authors pay strict attention to the minimal, the small, the barely there in Alice Oswald. Arguing that hers is an inclusive response to the environment, in which everything flows into everything else and the human being part of this flow, enfolded by the world he or she hears and sees, the authors focus on the small, the local, the barely heard, and ultimately the idea and presence of the stone as measures of how Oswald hears her environment, how this listening connects the local to the global, and how such poetic practice overcomes, or presents at least the possibility of overcoming, the anthropocentric superiority and distance that determines much thinking of the environment in conventional discourses.
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Given Kant’s claim that the moral value of an action depends on whether the will is determined „objectively by law and subjectively by pure respect for this practical law” (AA 4:400), this research is focused not on the usual a priori objective derivation of moral principles in thesis/in hypothesis, but on their subjective application in concreto. In other words, the paper examines how human beings, as sensuous beings, are affected by the principles of their own practical reason. Kant states that human beings can’t understand how they are motivated by a moral law because it is inexplicable to the human mind how an intelligible cause (law) produces a sensuous consequence (respect) that, whether we like it or not, find in the soul. By denying the possibility of (objective) knowledge of the source of the feeling of respect from the “thirdperson perspective”, Kant makes room for the phenomenology of this feeling and shows how the subjective experience of coercion of the will by the reason of the moral law looks like “from the first-person perspective”
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Roman Ingarden (1893–1970) is a representative of the phenomenological trend in philosophy. He pursued his ontologic interests in his fundamental treatise Das literarische Kunstwerk that was the starting point for his studies of other areas of art including music. For Ingarden, direct musical experience is a starting point for philosophical reflection, which should be free from any theoretical prejudice. He considers the essence of the musical work in such dimensions as ontological, the work’s structure, its perception and axiology (aesthetics). Ingarden formulates a thesis about a single layer of the musical work, an aspect which distinguishes music from other works of art. A musical work is for him a purely intentional object, whose origins spring from creative acts of composers and whose ontological basis rests directly in the score.
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What does Heidegger’s discussion of authenticity of Dasein, as presented in Sein und Zeit (1927), contribute to the completion of his program of fundamental ontology (aiming at the sense of being as such)? Aiming to answer to this question the author examines the way authenticity is constructed. The author specifically emphasizes the fact that the authenticity is completed within what is given in „the One“ („das Man“), in the process by which Dasein realizes within its way of being his own specification or concretization. Furthermore Heidegger claims, on the one hand, that it is not possible to rank authenticity and inauthenticity as being something of “higher” and “lower” order, and, on the other hand, that the world has a transcendental status with primary role of the One (das Man). Therefore Dasein understands all from the world, builds its understanding by taking it from the world and constructing out of it its own specification. This has two important consequences: the first is the realization that authenticity has no significance for fundamental ontology, for the understanding of the Being that the Dasein has acquired is equally valuable whether it is authentic or not; and the second is that authenticity is of negligible significance, for the understanding that the Dasein has is obtained from the One, and because the world has a transcendental status, hence it is a priori as far as the understanding of all Being goes. Why then Heidegger deals with authenticity? Reason is to be found not in preparing work for fundamental onthology but in Heidegger’s anticartesianism. As he sketched the concept of Dasein in contrast to Descartes’ subject, he created a problem for himself. Just as Descartes had a problem with finding the way to bring the subject to the world, Heidegger is facing a problem: How can the Dasein, as something integrated into the world as beingin-the-world and being-with-Others, come to itself? Finding the answer to this question does not engage fundamental ontology, for it must be obtained as a precondition for creating the starting point for it. Finally, the author discusses a problem that emerges from this perspective: What is the source of Heidegger’s turn (Kehre)? Emphasized as reasons are Heidegger’s anthropocentrism and remnants of the subject-object relation. Anthropocentrism, however, was already overcomed in SuZ with the thesis about the trancendentalty of the world and by de-centering the subject given the primacy of understanding as contained in the One. As for the subject-object relation, it was overcome through the very discussion of authenticity on the basis of the thesis that the Dasein and the world are in original unity. It follows, then, that Heidegger did not offer the real reasons for his turn, hence the question remains: Why Heidegger did not remain satisfied with those results? That remains to be uncovered by further analyses of his philosophy!
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