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In a world filled with meanings and significance, hermeneutics is a discipline that is essential for a clear and objective understanding. There is a multitude of authors who have been active in the spectrum of this discipline, such as Hans-Georg Gadamer, Friederich Schleiermacher, Moises Silva, and Walter C. Kaiser Jr, even Mircea Eliade, with comprehensive expertise within the philosophy of religion, etc. The valuable work of the philosopher and professor Paul Ricoeur undoubtedly impacts the paradigm of modern hermeneutics. Its impact on the field mentioned above is overwhelming, regarding the text, which distances itself from writing and speech. [ABSTRACT FROM AUTHOR]

When the philosophical roots of Gestalt Therapy are discussed, names like Kierkegaard, Husserl, Buber or Sartre are often mentioned. French philosopher Maurice Merleau-Ponty, who was left standing in the background, but experienced in Gestalt Psychology, introduced the body into philosophical discourse and, underlining human perception, directed himself to the original epistemological and ontological philosophy of man in the world. Although he had not encountered Gestalt Therapy in person, his ideas correspond with it significantly, especially in terms of contemporary field theory. Concepts like perceptual faith, corporeality and motor intentionally are examples. We are able to find parallels between the work of Merleau-Ponty and gestalt modality not only in theory but in the lived experience of therapists, too. Moreover, these parallels can enrich the set of psychotherapy methods. The affinity between this French thinker and Gestalt therapy poses the question to us whether or not he deserves to be moved into its foreground. [ABSTRACT FROM AUTHOR]

'Leaving the street game' – a longitudinal ethnography (N=1) of gang desistance: This article centers on the process of (gang) desistance of Jermaine, a man with a substantial criminal record who has been part of the Dutch Crips gang for over a decade. From a phenomenological perspective, drawing on 15 years of longitudinal ethnographic research, Jermaine's process of desistance is described, with specific attention for his first steps in leaving gang and street life behind, his search for regular work, and the transformation of his (gang) identity. This life story illustrates how much desistance should be understood as a struggle, accompanied by periods of relapsing into old patterns of (criminal) behavior. In addition to these more practical challenges in terms of act-desistance (Nugent and Schinkel, 2016), Jermaine's story show-cases the importance of identity in the process of desistance. Above all, Jermaine's story indicates that for some, desistance means that the old criminal or gang identity does not need to be casted aside, but that it become part of the new identity of the desister. [ABSTRACT FROM AUTHOR]

Blumenberg's philosophical anthropology, about the origin and development of imaginative thinking among early human beings, serves as the backdrop to this article about the reasons art exists as a human activity. The article could be read in conjunction with a prior set of two articles by myself (in Afrikaans), "Hans Blumenberg's philosophical anthropology" and "Hans Blumenberg's model for the evolution of thought". Blumenberg posited that a strong connection exists between the earliest existential anxiety and the development of self-consciousness in humans and that this sets the human apart from the natural animal. My article looks at the evolution of thinking about art in the European human being, the way it occurred in various historical times, against the backdrop of the first thinking responses in primordial times. Art originated as a form of wishful thinking, as part of a survival response, which compensated for the early human's sudden lack of belonging in the world. This sudden lack occurred when the creature accidently strayed from its earliest natural habitat - that of being enclosed by primordial forests - and ended up on the open grasslands exposed to all kinds of dangers. As a result of this catastrophe, the early creature was confronted by the "absolutism of reality", as Blumenberg calls it, i.e. a near total lack of control over his own destiny in the face of overpowering factors of reality. The creation of art had a direct connection to this abysmal existential anxiety because it featured forms of imaging that assuaged the anxiety. Through the ages and to this day art plays a pacifying role in human culture. Blumenberg points out that the earliest developed forms of thinking were mostly of a mythical nature, i.e. of a wished-for or dreamt-up nature, such as the creation of the gods, and art in its first forms was part of this response. The primordial humans placed the gods between themselves and the absolutism of reality. They could approach the gods for favours or at least ascribe their sufferings to the wilful actions of these all-powerful beings. The humans made art as a form of assuaging their anxieties but as makers they had to make sure that they did not transgress on the gods' primary right of creation. Move on now from primordial time to historical time. Especially in the Middle Ages, the human being found itself in a position of intense negotiation with Christian theology and with God as the Creator to make sure that while they created things they still could rely on the favour of the Creator. My article looks at Blumenberg's analyses of historical epochs, defined as such by him, that preceded the Modern Epoch and how this diachronic historical process eventually opened up the space for modern art to make its appearance. According to Blumenberg, the nature of the epochs and the reality concepts that govern these epochs, as well as their intermediary junctures, can only become apparent in retrospect. It is Modernity and the phenomenological ability that comes with modern times that enables this retrospective awareness in people. Blumenberg believes that the shapes of knowledge - be it philosophy, religion, culture or art - exist in particular ways within the broad machinations of an epoch - a way that pertains to that epoch alone. Knowledge has certain functions that may change in a follow-up epoch. Every epoch's institutions and traditions have the primary goal to ensure the survival of the human being as a social being (i.e. a failed natural creature). Aristotle's idea of "art as mimesis of nature" was the conception of art that reigned from European Antiquity through the Renaissance to early modernity. It was an idea designed to keep the favour of Providence while humankind slowly, and hidden to itself, expanded human autonomy in its self-expression. The Aristotelian God was the maker of things, based on the Forms of Plato, through the influence of Neoplatonism, and people did not exist as anything else but a subsidiary part of God's creation. The article traces several reoccupations within the Aristotelian scheme towards the eventually fully autonomous modern artist. All the reoccupations happened within reigning Christian theology, including the last vital one, the freeing of the human will on account of the expanding influence of Augustine's free-will thesis. It was theology that governed all knowing and its possibilities. But the changing of the guard in the reoccupation process leading to the meanings of modern art was laborious and slow. The "logic" of a particular threshold-period, namely the Renaissance of Leonardo da Vinci, was still bound up with the idea of a privileged viewpoint within the Aristotelian mimesis structure, much comparable in structure to the scientific observations of Copernicus. Both thinkers were still coming to terms with the unseating of the centrality of the given world. Blumenberg's critique of Paul Valèry's wished-for analysis of Leonardo in Valery's own modern terms, argues that premodern art can only be understood for what it says if judged within the function of its own epochal frame. However, Blumenberg admires Valèry's terms for modern art, especially the term objet ambigu, which finally leaves behind the privileged window image of art that reigned supreme during the Renaissance. The objet ambigu is an art product that has full spacial dexterity and movement. My article argues that the hard-earned freedoms that characterise the objet ambigu bring new securities as well as insecurities to the human being's world concept. One of the great gains for the modern mind is that it can consciously view meanings in terms of phenomenology, that is in a distanced way as if he is in the other time despite being in his own time. The earliest patterns of meaning that were devised by a primordial mind are mythical. These are so basic to thinking that they are imperishable, and still very instrumental in the communication modes of modern art, as my analysis of a Robert Frost poem shows. But the metaphorology underlying these "significance structures" has now been rendered self-conscious in the human, compared to the human of premodern and primordial art. In conclusion, it is postulated that certain shifts in late modernity are bringing about new forms of the absolutism of reality and existential anxiety, and that these have definite implications for the art product. Blumenberg's reality concept (Wirklichkeitsbegriff) of Widerstand ("withstanding") - of a world utterly traumatised by its freedoms and divisions - seems particularly apt, and my article cautions that the late modern state of affairs holds a threat to the freedom and intentional dimensionality of the objet ambigu. The reason for this, I propose, is that a world disunited in its attempts to save its rhetorical bulwark - i.e. the broad range of human mind activities that sets him apart as a social being - will be inclined to demand simplicity and partisan allegiance from the late modern artist, which amounts to an anti-modern and retrogressive stance despite all our means available to the contrary. [ABSTRACT FROM AUTHOR]

This text shows the conditions of our present epoch, which is understood as successive and technological time. Instead of being rooted in the thinking of origin (Anfang), we find ourselves in the epoch of “enframing” (Gestell), in a situation where man is no longer even a being but merely a human resource. Instead of thinking, we have digitalization; instead of education, organized ignorance. Using Heidegger’s motifs, we contemplate the key connections of our present and uncover an ontological dimension that is more original than Cartesian subjectivity. By descending to a more original ontological dimension, man is shown not as an objectifying (managing, digitizing, etc.) subject, but as a being of Being, thus of origin, to which belongs the paradox that it always happens for the first time and for the last time. And it is precisely from this paradox that the poetic nature of human dwelling becomes clear.

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Cílem článku je vysvětlit přínos Merleau-Pontyho fenomenologického pojetí tělesnosti pro teorii i praxi současné fyzioterapie. Mechanistické pojetí těla, na něž se fyzioterapie zpravidla odvolává, předpokládá univerzální model fungování těla a jeho vztah k prostředí vykládá kauzálně. Ve skutečnosti však neumožňuje uspokojivě vysvětlit principy účinků v praxi používaných terapeutických metod. Naproti tomu Merleau-Pontyho koncepce motorické intencionality poukazuje na fakt, že tělo „chápe“ praktický význam určité situace. Tělesné porozumění se pak projevuje zejména schopností adekvátně diferencovat, adaptovat či variovat motorické a posturální odpovědi na výzvy prostředí. Tato změna pojetí tělesnosti má zásadní důsledky i pro pochopení vztahu fyzioterapeuta s pacientem i samotnou terapeutickou intervenci. Fyzioterapeut by měl více vycházet z toho, že je sám tělem, a na základě toho vést tělesnou intencionalitu pacienta k rozvinutějšímu porozumění praktickému významu situací.

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Edmund Husserl (1859–1938) obdržel v roce 1927 nabídku od Jamese Louise Garvina, britského editora Encyclopædia Britannica (dále jen EB), ať napíše pro novou, tehdy čtrnáctou edici článek „Fenomenologie“. Garvin stanovil rozsah článku na 4000 slov a termín vydání na září roku 1929. Husserl pracoval na článku v časovém rozmezí mezi zářím a prosincem roku 1927, během kterého vyhotovil celkem čtyři verze. Husserl požádal o spolupráci na prvních třech verzích svého žáka Martina Heideggera, který toho času zastával profesorský stolec na univerzitě v Marburku. Heidegger strávil v říjnu 1927 u Husserla několik dní, během kterých intenzivně pracovali na řečeném článku. Nicméně jejich spolupráce vedla ke vzájemnému profesnímu odcizení, protože práce na formulování článku dala vytanout nepřekonatelným obsahovým diferencím mezi oběma filosofy. Na základě Heideggerových nepřijatelných návrhů a připomínek Husserl nakonec sepsal finální, čtvrtou verzi článku již sám. Tuto poslední verzi čítající 7000 slov pak Husserl předal oxfordskému učenci Christopheru V. Salmonovi, který ji měl zkrátit a přeložit do angličtiny. Salmon sice v únoru roku 1928 opravdu dodal do redakce EB text čítající 3844 slov bez bibliografie (s ní to bylo pak celkem 4017 slov), ovšem nejednalo se vpravdě o překlad, nýbrž dost svévolnou parafrázi. Tato podoba Husserlova článku se pak objevovala ve čtrnácté edici EB, jež se vydávala až do roku 1974, jen do roku 1956, kdy byla nahrazena článkem napsaným Johnem N. Findlayem. Původní podoba Husserlova článku (včetně všech předchozích verzí) byla poprvé zveřejněna až roku 1962 v rámci jeho sebraných spisů známých pod označením Husserliana (Hua), podle jejichž IX. svazku jsme vyhotovili předložený překlad z německého jazyka. Podle této edice rovněž uvádíme paginaci, která je uvedena v hranatých závorkách, přičemž stránkový přechod indikuje v textu umístěná značka | .U příležitosti 80. výročí Husserlova skonu, který připadl na rok 2018, bylo naším záměrem připomenout přínos a odkaz tohoto našeho krajana tím, že napravíme absenci překladu jeho patrně nejvíce instruktivního, přehledného a programového textu, který byť ve zkomolené podobě anglického „překladu“, po dlouhou dobu seznamoval učenou veřejnost s tím, co je to fenomenologie.

Přestože Patočka nevyvinul systematickou teorii estetiky, napsal četné texty, které společně tvoří jeho "filozofii literatury". Vytváří vysoce osobní korpus spisovatelů, který odráží jeho vlastní filozofické pozice. Bytostně osobní a politicky angažovanou interpretaci věnuje dílům Ivana Vyskočila, kde se zaměřuje na popis mechanismů moci a jejího potencionálního zneužití. Politická a občanská dimenze Patočkovy literární kritiky, ve které se nevyhýbá dobovým polemikám, vyvrací obecně sdílené tvrzení, podle kterého Patočka vstupuje do politické debaty až v pozdějším věku. Konsistentní přítomnost figury Sokrata jako symbolu role filozofa ve společnosti v Patočkových textech dále popírá ideu apolitičnosti Patočkovy tvorby, která předcházela jeho zapojení do aktivit související s Chartou 77. Motiv "prodeje duše", který Patočka reflektuje ve svých studiích ze sedmdesátých let věnovaných Faustovskému tématu, můžeme chápat jako odvrácenou stranu důležitého Patočkovského motivu "péče o duši". Meditace na faustovské téma zajímavě doplňuje Patočkovy soudobé filozofické texty věnované z velké části tématice duše u Platóna. Studie o literatuře a umění, ve kterých můžeme sledovat Patočkovy filozofické koncepty v akci, kde ožívají v konkrétních literárních interpretacích, mohou být osvěžující vstupní branou do komplexního, nicméně koherentního a velice bohatého Patočkova intelektuálního světa, který stále nabízí mnohá tajemství a zachovává si svou aktuálnost i v dnešním kontextu.

Článek se zabývá fenomenologickou koncepcí literatury v Patočkově studii "Spisovatel a jeho věc" a rozvíjí myšlenku, že literatura nabízí výrazný filozofický přínos. Patočka přisuzuje spisovateli spoluúčast na aktivitě zjevování světa a ukazuje, že literatura může poskytnout vhled za technicko-vědecký rámec, který dominuje současnému životu. Zabývám se vědou i literaturou jako způsoby vztahování se ke světu, reflektuji osobitost každé z nich a způsob, jakým používají psané slovo. V závěru nacházím filozofický přínos literárního psaní v Patočkově dvojím tvrzení o literatuře: že nabízí "individuální zachycení smyslu života" a že představuje "svět" jako "nedělitelný" celek.

Studie ukazuje přínos filozofa Jana Patočky pro literární vědu a estetiku. V první části jsou popsány souvislosti Patočkových estetických úvah s jeho koncepcí třech pohybů lidské existence, konkrétně se třetím pohybem průlomu či pravdy. V Patočkově pojetí je umění odhalovatelem životního smyslu a má schopnost připomenout fenomenální podobu našeho životního světa. Chápáním umění jako místa, kde se děje pravda (ve smyslu Heideggerova pojetí pravdy jako ἀλήθεια), Patočka zároveň předjímá hermeneutickou koncepci produktivní reference či mimetického působení P. Ricoeura. V druhé části je sledován přínos Patočkova myšlení pro české literární vědce Milana Jankoviče a Zdeňka Kožmína. Jankovič se inspiroval Patočkými estetickými úvahami a koncepcí svobody v Negativním platonismu při promýšlení otázek smyslu literárního díla, podobně jako Patočka zdůrazňuje časovost smyslu, respective jeho ontologickou otevřenost a vztah ke svobodě. Kožmín zohledňuje širší kontext Patočkova filozofického myšlení a nahlíží na estetickou zkušenost jako na existenciální událost, během níž se dostává do popředí smysl jako takový a s ním i spojené modality lidského zakoušení prostoru a času.

Český filozof Jan Patočka (1907–1977) se velmi dobře znal s představiteli Pražského lingvistického kroužku (např. Vilémem Mathesiem, Romanem Jakobsonem a Janem Mukařovským), avšak k užší badatelské spolupráci mezi nimi nikdy nedošlo. Záměrem studie je 1) představit Patočkovy názory na strukturalismus, 2) nastínit jeho vztah k českému strukturalismu, zvláště pak k Janu Mukařovskému. Jestliže Mukařovského můžeme považovat za jednoho z hlavních představitelů českého strukturalismu a analyticko-strukturálního uvažování o umění, Patočka byl myslitelem, který usiloval o syntetizující filozofický přístup.

Winckelmannova snaha vysvětlit změny stylu v umění proměnila odbornou znalost v samostatnou vědeckou disciplínu. Jeho následovníci se na tomto nově otevřeném poli dějin umění pokoušeli překročit pouhý popis změn k vysvětlení pomocí hlubších, často filozofických příčin. Ve svých textech z šedesátých let se o svůj vlastní fenomenologicky založený výklad dějin umění pokusil i Jan Patočka. I on se odvolává, přestože kriticky, na Winckelmanna a některé další významné teoretiky dějiny umění, jmenovitě na Riegla, Wölfflina, a Sempera. Filozoficky se pak Patočkův pokus rýsuje na pozadí Hegelovy Estetiky a Heideggerovy fenomenologické koncepce uměleckého díla. Patočkův vlastní pokus z šedesátých let nicméně trpí řadou nedostatků. Patočkovo rozdělení dějin umění na období umělecké a estetické nevykazuje na první pohled žádnou souvislost s druhým dělením, které Patočka zavádí, s dělením na období stylu a imitace. Patočka rovněž nechává nedostatečně zodpovězenou otázku, zda přechody mezi jednotlivými érami pramení pouze z rozdílného kulturně společenského kontextu, či jsou podle způsobeny hlubšími příčinami ontologického rázu. Ontologický charakter uměleckého díla pak nechává pouze naznačen. Cílem tohoto článku je ukázat, jak Patočkova kritická recepce některých momentů Ingardenovy estetiky pomohla vyjasnit a zodpovědět některé problémy jeho vlastní koncepce.

În cartea mea Eigenname und Bedeutung (1996), am pornit de la observația că teoriile moderne referitoare la numele proprii nu reușesc să prezinte cu adevărat natura semantică specifică și complexă a numelor proprii. Începînd cu anii ’60 și ’70, teoretizarea legată de numele proprii a fost dominată, în ansamblu, de savanți ce-și desfășurau activitatea în tradiția filosofiei și logicii analitice, mai cu seamă John R. Searle și Paul Kripke. În orice caz, am argumentat că genul de semnificație puternic specifică, tipică numelor proprii, trebuie să fie studiată în cadrul unei teorii care se află într-un contact mai strîns cu lingvistica generală propriu-zisă. Principalele dări de seamă filosofice (referențiale îndeosebi) și logice (formale îndeosebi) pleacă de la presupunerea că numele propriu este „sprijinit” de informația enciclopedică deținută de vorbitori cu privire la referenți (Searle) sau că numele propriu este lipsit de semnificație, fiind totuși un semn designator în mod rigid (Kripke). În contrast cu aceste concepții, caut să dovedesc că o definiție general lingvistică a numelui propriu trebuie să se axeze nu doar pe chestiuni logice și filosofice, ci și pe funcția semantică, specific lingvistică, a numelui propriu ca „parte de vorbire” în enunțuri reale. O atare abordare nu are de-a face deloc cu pragmatica sau cu analiza discursului, ea aducînd în discuție o focalizare funcțională asupra numelor proprii, care, cel mai adesea, a lipsit definițiilor date numelui propriu pînă acum. Prin urmare, este propusă aici o prezentare a unei teorii semantice bazată pe unele aspecte ale unei „fenomenologii a limbajului și a lingvisticii”, așa cum o găsim pe aceasta în opera lui Edmund Husserl și în cea a lui Eugenio Coseriu. În mare, Husserl reprezintă implicațiile general epistemologice ale lucrării, iar Coseriu, aspectele specific lingvistice.

The present text analyzes some cultural aspects of the master-disciple relationship between Dimitrie Gusti and Mircea Vulcănescu. Insist especially on the topicality of Gustian sociology while taking Mircea Vulcănescu’s receiver. Mircea Vulcănescu’s discipleship starts with the coordination of the bachelor’s degree in sociology by Professor Dimitrie Gusti, and then continues with the writing of other studies. Participation in sociological campaigns field, seminars and sociology conferences will follow afterwards. The present study also has the interpretation that the disciple Mircea Vulcănescu gives to the sociological system of the declared teacher Dimitrie Gusti. The precise references are to the Aristotelian substrate of the relation between possibility and actuality, reflected by Dimitrie Gusti in the relation between cadres and manifestations; to the social will understood as an original expression of the voluntarism of Jean-Jacques Rousseau; to the archetypal character of the four Gustavian cadres; to Gusti's sociological system defined as “system of social philosophy”. In this sense, Dimitrie Gusti's system does not exclude science. On the contrary, it includes it in the sense of “sufficient reason” of all those existing in social life. Finally, I illustrated the importance of the social phenomenology practiced by Mircea Vulcănescu in the field sociological campaigns coordinated by Dimitrie Gusti with two classic examples and one current one. The fi rst two refer to the analysis of a magicoreligious phenomenon (the enchantment) and to the subtleties of the speculative vocation of the Romanian refl ected linguistically. The present example is an attempt, partially original, to interpret in the spirit of the phenomenology proposed by Vulcănescu certain forms of popular culture that illustrate the non-canonical power of evil in Romanian history. At the limit, these fantasies of the efficacy of evil could more deeply explain the suspicion and distrust of Romanians. [ABSTRACT FROM AUTHOR]

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Objev karteziánského metodického rámce revolucionizoval vědu. Ale bez ohledu na nepopiratelné úspěchy má tento rámec též svá omezení. Abychom poodhalili některá z těchto omezení, vycházíme z diskuse Husserlovy fenomenologie s naturalismem a naturalistickým pojetím světa a člověka, jak ho lze nalézt u Johna Locka. Ve druhé části textu se zabýváme Husserlovým střetem s novou vědou, etnologií, jak ji rozvinul Lévi-Bruhl. Husserl viděl v etnologii možnost rozvinout nový typ vědění o člověku, který by překročil hranice (přírodo)vědy, redukující člověka na pouhý objekt ve světě.

Purpose - Luciano Floridi suggests building an ethics of information, replacing information ethics in terms of analysing the processes that occur in the infosphere. Its starting point is the reduction of entropy in it, which identifies definitively with the good and, on the contrary, the increase in entropy is for him a definition of evil. The study aims to point out that the ethics of information can be built not on entropy but on the dynamic complexity that we introduce in the paper. Design/Methodology/Approach - The article systematically analyses Floridi's starting points in the definition of infosphere and entropy and, based on their critical discussion, proposes - from a phenomenological-pragmatist position - an alternative approach to the ethics of information. Results - The result is the introduction of the concept of dynamic complexity as a basis for information ethics. It is based not only on the criticism of the problems associated with entropy in the infosphere. The study is based on Johnson and Lakoff, who work with corporeality as a basis for the theory of knowledge and thought. These reflections then translate into practical implementations, which are devoted to the final part of the article. Originality/Value - The article offers a proprietary concept of information ethics that allows for a more comprehensive and applied approach than Floridi's original basis in entropy. [ABSTRACT FROM AUTHOR]

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Concepts associated with the Structuralism of the Prague School are usually considered to respond to trends in continental philology, philosophy, and aesthetics of the 1920s and 1930s. The phenomenology of Roman Ingarden is thus viewed as a key source of inspiration for the concept of ‘concretization’ coined by Felix Vodička, a concept which would become one of the key terms of literary history. This article focuses on a less explored issue concerning the notion of meaning developed by Ingarden in his Das literarische Kunstwerk and its potential influence on the idea of meaning developed by Jan Mukařovský during the 1930s. The comparison highlights an important difference between the two concepts of meaning. While Ingarden focuses on the heterogeneity of elements involved in the production of meaning, Mukařovský aims rather at developing a universal notion of meaning as a synthetic process that operates the same way on all levels of the literary text. In this case, the author tends to consider the notion of meaning only in vague and general terms, illustrating the production of meaning at the micro level and then claiming that the same processes can be found at all higher levels. [ABSTRACT FROM AUTHOR]

The present essay represents an attempt at a new philosophical reflexion on the phenomenon of desire. Drawing on the phenomenological background, namely, on Husserl's idea of intentionality and the universal a priori of correlation, but also on Merleau-Ponty, Levinas and others, the author proposes to define the perceiving subject in its relationship to worldly reality precisely as desire and lack, thus highlighting what he calls an ontological dimension of desire. [ABSTRACT FROM AUTHOR]

In the present text, the author focuses on Sartre's influence on the work of Alain Robbe-Grillet. Sartre's text that seems to have represented a major source of inspiration for Robbe-Grillet's writing is a short 1939 essay entitled „Intentionality: A Fundamental Idea of Husserl's Phenomenology", where Sartre refuses the idea of knowledge as an absorption of objects in subject's interiority. In the second part of the present paper, the author offers a close reading of Robbe-Grillet's Jealousy to support this view, concentrating in particular on the problem of affectivity. [ABSTRACT FROM AUTHOR]

The present paper represents a phenomenological reflexion on the question of animality. Drawing from a selection of phenomenological texts, ranging from Husserl and Heidegger to Maurice Merleau-Ponty, the author pleads for a different view of animality than that which would posit a neatly cut anthropological difference between the human subject and animal. In the final section of the text, the difficult question of inter-animality (as opposed to intersubjectivity) is treated in some detail. [ABSTRACT FROM AUTHOR]

This essay shows the possibilities of a contemporary continental philosophy of religion. It addresses the fate of deconstruction in contemporary scholarship through the writing of Martin Hägglund and John D. Caputo, who have respectively proposed an atheist and a theological reading of Jacques Derrida's thinking of deconstruction. As an alternative, the essay offers an interpretation of Ludwig Binswanger's phenomenology of love, whose empiricaltranscendental method addresses many of the shortcomings in contemporary deconstructive and phenomenological scholarship. Binswanger's thinking is compared to other authors in the contemporary debate. Binswanger's ontology of the greeting in being is, moreover, interpreted here as the framework for a contemporary philosophy of religion in its difference from both contemporary theology and atheism. The article does this by presenting the major players in continental philosophy of religion and by navigating their views. It begins with Derrida's critique of Jean-Luc Nancy's deconstruction of Christianity. Derrida advised Nancy to think with and alongside the Christian and philosophical tradition rather than against it or to pretend to be able to do without this tradition. In short, Derrida's advice to Nancy - a "salut without salvation" - is reminding Nancy of the Promethean trait of his deconstruction of Christianity whereas, in fact, Derrida points out that this deconstruction is rather somewhat like a modern Munchausen: at the very moment it thinks it is reading this tradition against the tradition, it is all the more sinking and seeking within this very tradition. This is, if you like, Derrida's explanation of why both "theists" - God is (this or that) - and "atheists" - God is not and certainly not (this or that) - have a hard time today. Still, a deconstruction of Christianity necessitates an overcoming of the simple theismatheism distinction, and their respective rather propositional truths, by finding the common ground from which both "theists" and "atheists" can welcome and greet one another and think together. Derrida, Nancy and Caputo find such a common ground in an "elementary faith". This elementary faith is close to the "intersubjective curvature" in being that Levinas mentioned in Totality and Infinity: the fact, if not facticity, that it takes two (or more) for there being any sense, signification at all. Such a faith, then, would be prior to the particular beliefs of a given culture or religion. "In the beginning", then, is the salutation, an elemental and originary coram that does not decide for or against religion even when it is the milieu of the religious where religion begins - the "second source" of religion (Derrida). For, even if one concedes a "non-ethical opening of ethics" (Hägglund), this opening remains constituted by an originary coram, by a tending toward otherness and toward the other. This would mean that one could align somewhat Derrida, Levinas, Nancy and Binswanger on precisely this point: prior to the religious address that is prayer (à Dieu), the address that is ethics (presupposing that the other is good and "respects" me - Levinas), the address that is non-ethical (the other might just as well be a bad other that does not "respect" me - Hägglund), there would be an ontological salutation in being, through which all beings, eventually, are turned towards all beings. This ontology, the greeting present in everything we say, do and think, is again an ontology incarnate: it is attested to in the "coming and the going", in the Wink we give to others. Yet as the phenomenon of love in Binswanger has shown us the passage through the empirical to the transcendental, so too Binswanger shows us how to think this elementary faith together with the particular empirical beliefs held dear by religion. [ABSTRACT FROM AUTHOR]

The incest or „the consensual sexual relationship between relatives or between brothers and sisters” is in most countries / cultures forbidden by the law and has been over time the subject of many prohibitions, speculation or cultural products having like leitmotif, such inappropriate sexual relations. The existence of increasing incidents / cases of incest, which, in the past, were not only blamed by the community but also convicted by prison, determined, on the part of those involved in such relations, extensive movements and legal actions recently being favored (in favor of them!) at the International Court of Justice, the case of a German brothers who became a couple. Starting from the mytho-historical example, reviewing the main cultural products which has like subject the motive of incest (literature, cinema), with this study who is an integral part of a expected History of a Wonder of the Fantastic Romanian Fantasy (who is in progress), I tried to capture, classify and analyze the cases of incest mentioned by fantastic Romanian fairy tales. The accent is placed on the psychopathological dimension of such sexual relations between very close relatives, but also on the symbolic dimension that the anonymous creator of fantastic fairytale imprinted on such products of the traditional epic. [ABSTRACT FROM AUTHOR]

The study reflects the philosophical analysis of scientific research carried out by the botanist Agnes Arber in the 1950s. Her concept entails a valuable contribution to the question of the context of scientific discovery and the process of its rationalization in biological disciplines. I will try to show that her considerations are fundamentally phenomenological, and thus the comparison wiThthe thoughts of Maurice Merleau-Ponty on the topic of corporeal nature of senses is useful. Such an interpretation suggests that Arber, similarly to Merleau-Ponty (though using different terminology), considers phenomena not as objects that can be examined separately, but as representing a phenomenal field in which phenomena arise in the context of past experience. According to her, the orientation in the subject of a study is a question of equilibrium, which a researcher actively seeks. [ABSTRACT FROM AUTHOR]

Since phenomenology isn't just a method of philosophical research but also a genuine philosophical stance, Husserl discusses in his famous article Philosophy as a Strict Science from 1910/11 at least three notions of philosophy to demonstrate, what should be considered solely as a scientific philosophy. This may only be his phenomenological philosophy, which Husserl contrasts against boThin his time most popular philosophical positions, i.e. the naturalism, and the philosophy of world view. But there is also another "brand" of philosophy that's being mentioned in his article: the so called 'Tiefsinn'. Is it a fourThnotion of philosophy, or just the extreme derivation from the "world view"? Not only shall our article answer that question, but also demonstrate Husserl's conception of a phenomenological philosophy being a strict scientific philosophy in contrast to naturalism as well as the world view. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this article is to give an account of the study conducted to determine if teachers in the intermediate phase are ready to teach and to use literature within the classroom. The study was conducted from an interpretive paradigm and a qualitative research approach was used. The qualitative approach gave the researcher the opportunity to examine the research question in depth. Aside from the qualitative research approach, a phenomenology design was used in order to get rich descriptions of the participants that emerged within the phenomenon. The study has shown that the teachers who participated in the study were not necessarily ready and knowledgeable on how to use literature in the teaching of language or how to teach literature itself. In some cases, the department subject advisors were not able to lead and support these teachers in the integration of literature within the curriculum. [ABSTRACT FROM AUTHOR]

Marinus Schoeman has completed a career spanning 42 years as a philosopher at the University of Pretoria. This contribution focuses on Schoeman's remarkable career as a kind of Socrates figure in a country where thinking is not always first on the agenda of philosophers. The contribution starts (part 1) with some personal remarks by the author who considers Schoeman as one of his mentors in philosophy. In this process the following aspects are covered: Schoeman as a passionate teacher; dedicated, but strict supervisor; his broader initiatives in Afrikaans and the South African public sphere; his links with Dutch speaking philosophers; and specific character traits - which includes the virtue of generosity. The remainder of the contribution consists of four parts. In part 2 Schoeman's career as a philosopher is placed in the context of a hundred years of Afrikaans philosophy in South Africa. When Schoeman arrived at the Department of Philosophy at the University of Pretoria in 1969, the department was already 60 years old. The significant figures in the department's history in those 60 years were: W.A Macfadyen, T.J. Hugo, C.H. Rautenbach, C.K. Oberholzer, and P.S. Dreyer. The latter two were Schoeman's mentors and they introduced him to the Continental philosophical tradition in which phenomenology, philosophical anthropology, and the history of philosophy were important building blocks. It is also indicated in this part how Schoeman was influenced by at least seven systematic areas within Afrikaans philosophy: the issue of modernity and modern life; the tension between science and religion; the tension between the particular and the universal (including the political implications thereof); the relationship between thinking and language; historical trauma; philosophical criticism; and the issue of the self. In part 3 Schoeman's first major study on the Critical Theory of Herbert Marcuse is given close attention. In this study Schoeman basically reconstructs Marcuse's position against the backdrop of Hegel's, Marx's, and Freud's contributions to our understanding of contemporary society. In Marcuse's version of Critical Theory, Marx's theory of class repression and Freud's instinctual theory is given a new twist, with less emphasis on the biological-determinist sketch of humankind's oppression. In his fascinating work, Eros and Civilization (1955), Marcuse is even hinting in the direction of a society with less repression despite the danger of the achievement principle in contemporary capitalism. Schoeman, though, has problems with Marcuse's sketch of such a repression-less society, especially with regard to new forms of repression needed to create greater freedom. Eventually, at the end of this early study, he sides, quite enigmatically, with the thinking of Heidegger and his mentor, Dreyer as alternative to Marcuse. In part 4 a critical evaluation of Schoeman's early reading of Marcuse is provided. The author commends Schoeman for his reading and critique of Marcuse, but still asks, why Schoeman never furthered his interest in Marcuse as a member of the first generation of Critical Theory. The author is of the opinion that if Schoeman had expanded his criticism of Marcuse in the direction of the second generation of Critical Theory (Habermas and Honneth), he could have deepened and expanded his critique of Marcuse. Schoeman's further career is then sketched as a turning away from Critical Theory in the direction of a kind of post-Heideggerian reading of our contemporary times. In this regard, Schoeman became interested in the 1980s in the philosophical hermeneutics of Gadamer, and the neo-Aristotelianism of the Ritter School. In the 1990s a reading of Robert Bellah and Foucault was added, which eventually culminated in Schoeman's later study on the virtue ethics of Nietzsche and Hannah Arendt. In the final part (5) Schoeman's career as a thinker is appreciated for the following reasons: his respect for those mentors and sources that have informed his thinking; his deep sense of the importance of history and its implications for the way we argue in the present; a critique of any kind of abstract, utopian and de-humanising politics; and his concept of friendship as basis for a philosophical life. [ABSTRACT FROM AUTHOR]

A model for dealing with parallel processes in supervision Supervision in social work is essential for successful outcomes when working with clients. In social work, unconscious difficulties may arise and similar difficulties may occur in supervision as parallel processes. In this article, the development of a practice-based model of supervision to deal with parallel processes in supervision is described. The model has six phases. In the first phase, the focus is on the supervisor’s inner world, his/her own reflections and observations. In the second phase, the supervision situation is “frozen”, and the supervisees are invited to join the supervisor in taking a meta-perspective on the current situation of supervision. The focus in the third phase is on the inner world of all the group members as well as the visualization and identification of reflections and feelings that arose during the supervision process. Phase four focuses on the supervisee who presented a case, and in phase five the focus shifts to the common understanding and theorization of the supervision process as well as the definition and identification of possible parallel processes. In the final phase, the supervisee, with the assistance of the supervisor and other members of the group, develops a solution and determines how to proceed with the client in treatment. This article uses phenomenological concepts to provide a theoretical framework for the supervision model. Phenomenological reduction is an important approach to examine and to externalize and visualize the inner words of the supervisor and supervisees. Een model voor het hanteren van parallelle processen tijdens supervisie Om succesvol te zijn in de hulpverlening aan cliënten, is supervisie cruciaal in het sociaal werk. Tijdens de hulpverlening kunnen impliciete moeilijkheden de kop opsteken en soortgelijke moeilijkheden duiken soms ook op tijdens supervisie. Dit worden parallelle processen genoemd. Dit artikel beschrijft een op praktijkervaringen gebaseerd model om dergelijke parallelle processen expliciet en hanteerbaar te maken gedurende supervisie. Het model bestaat uit zes fasen. In de eerste fase ligt de nadruk op introspectie van de supervisor: zijn of haar persoonlijke reflecties en observaties krijgen aandacht. In de tweede fase wordt de supervisie “stil gezet” en kijken supervisanten en supervisor vanuit een metaperspectief naar de situatie. De innerlijke wereld van de participanten aan de supervisie staat centraal in de derde fase, waarin reflecties en gevoelens van eenieder worden geïdentificeerd en gevisualiseerd. De supervisant die de casus inbrengt staat centraal in fase vier en in fase vijf wordt getracht tot een gezamenlijk begrip en theoretische interpretatie van het supervisieproces en de daarin besloten parallelle processen te komen. In de zesde en laatste fase probeert de supervisant, samen met de supervisor en de overige deelnemers, tot een oplossing voor de casus te komen. Een fenomenologisch perspectief wordt gebruikt om dit model van een theoretisch raamwerk te voorzien. Fenomenologische reductie is een belangrijke benadering voor onderzoek en voor introspectie van supervisor en supervisanten.

Příspěvek popisuje paradigmatický obrat, který pozměňuje raně moderní východiska vědy. Opouští objektivistický realismus a korespondenční teorii pravdy a poznání. V textu autor představuje pragmatistickou teorii poznání (Dewey) a závěry pozdní fenomenologie (Merleau-Ponty, Barbaras, Ricoeur), která znovu objevuje faktické kořeny transcendentální roviny. Oba směry zdůrazňují vliv tělesnosti na proces poznání, což vede k závazkům, jež významně proměňují metafyzická východiska moderní vědy. Změny, které autor popisuje, se dotýkají jak metodologické, tak teoretické roviny. Na rovině metodologie autor poukazuje na to, jak je rozpouštěna příliš striktní hranice mezi přírodními a sociálními vědami a mezi kvantitativní a kvalitativní metodologií, a dokládá potřebu nahradit tato rozdělení tzv. „kontinuitou disciplinovaného vědeckého výzkumu“. Na teoretické rovině autor popisuje změnu role teorie a význam, jaký v této proměně hraje znovuobjevení somatické dimenze lidského poznání. Všechny tyto změny zásadně proměňují sebereflexi vědy jak na obecné úrovni, tak na úrovni jednotlivých disciplín – tedy i v pedagogice.