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TEXTUAL HERMENEUTICS: A PATCHWORK OR A WHOLE WOVEN CLOAK? (Hermeneutyka tekstów: patchwork czy szata calodziana?)

100%
Piotrowska M.
Muzyka
|
2007
|
vol. 52
|
issue 3(206)
123-136
EN
In spite of the title, this article is not devoted exclusively to the issue of either unity or dispersion of the achievements of the branch of hermeneutics called (as distinct from philosphical hermeneutics) textual hermeneutics. The extreme form of this unity (as well as continuity) is symbolised here by the 'whole woven cloak'; while the extreme form of non-coherence is referred to as a 'patchwork' with an irregular pattern (the authoress was inspired here by Gadamer's statement that 'the word 'text' really refers to a fabric'). Based on this distinction, the authoress presents a provisional outline of her main thesis: the theory of hermeneutics, with a tradition reaching back to the Stoics' reflections on Homer, represents a continuity, which has been becoming unbreakable since the nineteenth century, while the practice of hermeneutics, initially a regular patchwork (which since the days Schleiermacher has incorporated the psychological aspect, i.e., the personality of the author) shaped by canonical norms, has striven and strives towards freedom, resembling a 'crazy' patchwork, i.e., such in which the sewing on of indiviudal patches is the work of momentary inspiration. The article also emphasises a number of important elements in Gadamer's hermeneutical philosophy which are not sufficiently stressed today. These include the use of the ideas originating from ancient Greece, such as the role of dialogue in bringing about understanding (the influence of Gadamer's study of Plato over many years). The authoress also recalls the influence of Gadamer's thinking on the musicology of H.H. Eggeebrecht, and pays attention to Gadamer's hermeneutical praxis; his studies of the nineteenth- and twentieth-century poetry. These studies bring Gadamer (otherwise regarded as the creator of philosophical hermeneutics) into the hermeneutic of texts - in its modern version, only loosely connected with the canon.
2

DILHEYOVSKÝ OBRAT FENOMENOLÓGIE: RICŒUR A HUSSERL

75%
Petit J.-L.
Filozofia (Philosophy)
|
2013
|
vol. 68
|
issue 9
741 – 751
EN
The author’s focus is on the comparison of two phenomenologists, one of them being the founding father of phenomenology and another French phenomenologist of the second generation. The key issue of the comparison is the constitution of the cultural world implying the confrontation with human sciences. This is something tried already by Husserl, who was influenced in his endeavour by Dilthey (the evidence of it is one of the last volumes of Huserliana (No XXXIX). Ricœur’s hermeneutics of culture also aimed at a dialogue with humanities, although for him this “Diltheyan turn” remained unnoticed: the above mentioned volume of Husserliana has not been at his disposal when he was opening the phenomenology to humanities.
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