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Jazyk a výchova v Rousseauově „Emilovi“

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Fulka J.
Filosofický časopis (Philosophical Journal)
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2011
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vol. 59
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issue 4
483-500
EN
The aim of this article is to briefly discuss several motifs connected with language in Rousseau’s writing about upbringing. The most important of these are Rousseau’s insights into language acquisition which, in many ways, correspond with the discoveries of contemporary psycho-linguistics. We shall also consider the principle of linguistic parsimony as a basic rule of upbringing. This rule has serious consequences not for all areas of upbringing but also for Rousseau’s conception of the relation between the human mind and ideas. After examining several concrete examples which Rousseau uses to demonstrate the necessity of this rule, we point to one basic exception to this general principle – this is the function of language in the curbing of sexual fantasies in the maturing human being.
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Subjekt jako infans

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Fulka J.
Filosofický časopis (Philosophical Journal)
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2011
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vol. 59
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issue 7, Special No: Fenomenologie tělesnosti
167-182
EN
The aim of the present paper is to investigate the manner in which Merleau-Ponty’s reflexion interacts with his interest in children psychology. Through interpretation of certain passages of Merleau-Ponty’s course on children psychology and of the article entitled „Child and His Relations to Others“, we draw certain hypotheses which might allow us to cast some light on various passages from Merleau-Ponty’s late philosophical works, namely The Visible and The Invisible. One of the fundamental starting points of The Visible and The Invisible seems to be a lack of distinction between structural and genetic perspective. We attempt to explain the status and possibility of this indistinction on the kibasis of Merleau-Ponty’s criticism of Piaget’s psychology and his specific interpretation of the „mirror stage“ both in its Wallonian and Lacanian version. Especially the Lacanian understanding of this phenomenon allows a perspective in which the genetic and structural perspective do not represent two incompatible registers – Merleau-Ponty’s notion of „ontological narcism“, developed in The Visible and The Invisible, is in many respects precisely a reinterpretation of this specific conception.
3
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Mezi tělem a reprezentací: sexualita ve „Fenomenologii vnímání“

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Fulka J.
Filosofický časopis (Philosophical Journal)
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2010
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vol. 58
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issue 1
23-34
EN
This study is a commentary on the chapter of Merleau-Ponty’s Phenomenology of Perception that deals with the question of sexuality. In opposition to the traditional causal conception of sexual behaviour as a series of reflexes, Merleau-Ponty conceives sexuality as a specific type of intentionality and a relation between the individual and the world. Figuring in his complex argumentation is clinical casuistry, as well as references to Freudian and Binswangerian psychoanalysis. Special attention is given to Merleau-Ponty’s comment on Babinsky’s conception of hysteria which provides the impetus for a new treatment of the ambivalence of consciousness and embodiment. The aim of this text is, however, also to show that Merleau-Ponty’s analysis is in no way intended just as a particular analysis of one type of behaviour. Rather, sexuality becomes, in Merleau-Ponty’s work, a truly emblematic structure which exemplifies human existence itself in its significative and expressive dimension. As such, sexuality resonates with, for example, Merleau-Ponty’s conception of language, the radicalisation of which led him to his final analyses in The Visible and the Invisible.
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Subjekt, touha a život

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Fulka J.
Filosofický časopis (Philosophical Journal)
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2009
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vol. 57
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issue 6
915-929
FR
dernières livres de Renaud Barbaras. Le recueil d´études intitulé Le mouvement de l´existence est consacré à partir des plusieurs perspectives à la philosophie de Jan Patočka, à commencer par Le platonisme négatif jusqu´à sa philosphie du mouvement. Barbaras réussit à articuler ce point de départ patočkien avec sa propre conception de la phénoménologie, fondée sur la notion d´intentionnalité vitale. L´étude systématique s´intitulant Introduction une élaboration consistante des motifs ébauchés dans ses études précedentes. Barbaras part d´une confrontation avec les représentants de la pensée phénoménologique pour aboutir, dans la à une phénoménologie de la vie représentedeuxième partie du livre, vers une concetion originelle du désir et de l´apriori universel de la corrélation. En même temps, nous essayons de démontrer que la pensée de Barbaras n´est pas dépourvue des points problématiques. Les questions qui demandent, à notre avis, une élaboration plus détaillée, sont centrées surtout autour de la notion d´anthropologie privative, par laquelle Barbaras tente de dépasser la vision traditionnelle de l´homme, de la conscience et de l´intentionnalité.
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Atonalita a nevědomí: jedno Adornovo přirovnání a jeho důsledky

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Fulka J., Vomáčka I.
Hudební věda (Musicology)
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2021
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vol. 58
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issue 3
413-430
EN
In the present article, the author concentrates on a particular use that Adorno, in his Philosophy of New Music, makes of psychoanalytical terminology. The author attempts to show that in his chapter on Stravinsky, Adorno uses this terminology in an instrumental way, as a means of “pathologizing” Stravinsky’s music, while in the chapter on Schoenberg, the same terminology is explored in view of its potential for shedding new light on the composer’s artistic freedom, as conceived by Adorno especially in relation to Schoenberg’s atonal period. It seems that Adorno regards psychoanalysis as a general theory of mental expression, making possible a new understanding of Schoenberg’s atonal reform and of a dialectical relationship between form and expression in Schoenberg’s atonal music. Given this viewpoint, the author pays particular attention to Adorno’s interpretation of Schoenberg’s Erwartung. In the final part of the text, the author attempts to demonstrate that this interpretation of Erwartung played a fundamental role in Adorno’s polemic with post-war serialism, as presented especially in his essay Vers une musique informelle.
CS
Autor se v článku zaměřuje na způsob, jakým Adorno ve své knize Filosofie nové hudby využívá psychoanalyticky inspirovanou terminologii. Cílem je ukázat, že zatímco v části věnované Stravinskému je tato terminologie využívána instrumentálně, jako nástroj sloužící k „patologizaci“ Stravinského hudby, v části věnované Schönbergovi je prozkoumáván její potenciál k novému chápání umělecké svobody, jak ji Adorno chápe v souvislosti se Schönbergovým atonálním období. Zdá se, že Adorno ve freudovské psychoanalýze vidí především novou teorii psychické exprese, která podle něho umožňuje nové chápání schönbergovské hudební reformy a dialektický vztah formy a exprese v Schönbergových atonálních kompozicích. Z této perspektivy se autor zaměřuje především na Adornovu interpretaci Schönbergova monodramatu Očekávání. V závěrečné části se pokoušíme ukázat, že tento Adornův výklad Očekávání byl určující i pro jeho polemiku s poválečným serialismem, jak je prezentována zejména v textu Vers une musique informelle.
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