Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Refine search results

Journals help

  1. 1 Edukacja Filozoficzna

  2. 1 Muzyka

Authors help

  1. 1 Held K.

  2. 1 Losiak R.

Years help

  1. 1 2007

  2. 1 2005

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  PHENOMENOLOGICAL ANALYSIS
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

PHYSIS AND NATIVITY

100%
Held K.
Edukacja Filozoficzna
|
2007
|
issue 44
5-18
EN
The main objective of this paper is to expose and phenomenologically analyze the concepts and mutual relationships between 'nature' and 'birth' which derive their origin and specific meaning from the old Greek philosophical tradition, and at the same time play a key role in our contemporary understanding of our own culture, and specifically in understanding of our unique relationship with nature. Scientific idealizations (mathematical-technical thinking) move us more and more away from the primordial experience of nature so that the original experience of nature itself becomes gradually mediated (or replaced) by technical thinking and step by step falls into oblivion. In the next part the author dwells phenomenologically on the meaning of 'birth' and 'being born, which constitutes the condition of every experience and makes my access to physis possible. Being born is therefore my 'emerging from secure darkness of the womb and appearing on the risky lit scene of the world'.. Nowadays, due to technical engineering and genetic manipulations - it became a matter of technology that man can be genetically and technically produced, transformed and 'born' beyond and independently of mother's body. No one can see what kind of creatures can be produced in this way. The tendency to eliminate pain and suffering from pregnancy and birth (and from our life in general) seems to irreversibly transform our attitude to ourselves, to our fate, to nature and natural processes. So, Holderlin's question: 'is there a measure on Earth?' retains its actuality.
2
Content available remote

THE EXPERIENCE OF RESPONSE TO MUSIC IN THE LIGHT OF MERLEAU-PONTY'S PHENOMENOLOGY OF PERCEPTION

100%
Losiak R.
Muzyka
|
2005
|
vol. 50
|
issue 1(196)
87-115
EN
The article attempts to analyse the problem of response to music in the context of phenomenological analysis of the act of perception, undertaken by Maurice Merleau-Ponty in his 'Phenomenology of Perception'. Such a perspective allows to go beyond the framework of artistic and aesthetic analysis in exploring music perception, by making it possible to examine the situation of response to music ('experience of music') as an act of existential significance. According to Merleau-Ponty, the fundamental feature of perceptual relation is that it is rooted in the perceiving subject's body, and its involvement in the situation. Phenomenology regards the act of perception of music in its situational aspect, defined by, among others, such conditions as: space, movement, events, attitude and mood, and also the cultural context. Analysis of perception then proceeds by examining the problems of subjective 'sense experience' (responsive, experiencing aspect) and 'behaviour' (active, expressive aspect). Perception of music, in the perspective defined by Merleau-Ponty's phenomenology of perception, turns out to be a complex human experience, which cannot be contained in a one-directional model of response, aimed at constituting a musical work or other aesthetic object. It is an active experience, which involves the subject wholly (bodily, mentally, emotionally) and is integrally conditioned by the situation. In the context of this analysis, the perceptual situation (musical situation) reveals a reciprocal relationship, a relationship of mutual influence of music and percipient. In this manner the existential aspect of musical perception (as understood by Merleau-Ponty) is revealed: music, by releasing the bodily physicality of the subject, which manifests itself in the sense experience and motor gesture, reveals to him/her his own being-in-the-world, a being situationally defined. In the act of response to music the percipient recognises the world as described and defined by music, and recognises him/herself as a participant in that world.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.