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Kwartalnik Filozoficzny
|
2009
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vol. 37
|
issue 1
107-121
EN
The author attempts to explain phenomenologically the sources of all theoretical endeavors as opposed to the practice of everyday life. According to the author, theorizing effort originates in consciousness that blocks the internal time-flow in order to extract and immobilize temporal data. The description of this process passes through the phases of pure qualities, predicative statements, linguistic sentences, and ends up pointing to the higher level of textual discourse.
EN
Most of what has been written about the work of Robert Bresson concentrates on the spiritual aspect of his work. This article on the other hand focuses on something completely different: on the mechanistic and material layer of Bresson's images, on the deeply rooted materiality of things. Whether this layer disturbs the metaphysical significance of the work, or strengthens it, is open to discussion. According to Zalewski this layer is an autonomous one, that deserves a separate analysis, beginning of which is presented in this article.
3
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EN
Historical arguments against the Husserlian phenomenological reduction stem from two mutually independent sources. First, some adherents of the so called realistic phenomenology understand the reduction as the rejection of the belief in the autonomous world’s existence, and this view seems untenable to them. Second, for some proponents of Heidegger’s philosophy from Sein und Zeit period reduction means disentanglement of the human being from the world, which is quite impossible. The article touches only the first group of these arguments (the second one is the theme of another paper). But, first of all, contrary to the common anti-reductionist stance, the author states that the reduction is a performable procedure. He also considers reduction to be the wide-spread operation of the Western philosophy, though being practised without the explicit knowledge concerning it.
EN
The subject of this paper is the controversy between cognitivist philosophy and phenomenology concerning the nature of emotions. This article has a limited scope restricted to the domain of the aesthetic emotions usually dependent on the works of art and literature. The author raises the criticism against the cognitivist stance, this criticism based chiefly on the principles of Max Scheler's phenomenology of emotions.
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