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BASIC PHENOMENON OF DEATH ACCORDING TO EUGEN FINK. BETWEEN POLIS AND KOSMOS

100%
Gilardoni A.
Analiza i Egzystencja. Czasopismo Filozoficzne
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2007
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issue 6
97-119
EN
In the first part of the paper the author presents Eugen Fink's analysis of the phenomenon of death, using meditation (considered as a kind of meta-phenomenology) and the reduction method. He investigates the problem of an appropriate phenomenological method (concerning the possibility of making an intersubjective reduction) and the problem of the phenomenon in question - it is initially very puzzling how a description of death could ever be possible, as it constitutes a limit situation and doesn't belong to the realm of life. Trying to preserve the intersubjectivity of experience Fink distinguishes two perspectives: my own death and somebody else's death, and makes the corresponding distinction between existence and coexistence. In the second part of the paper death is being considered as entangled in other phenomena of being: work (men's attitude to things) and reign (which is an interpersonal relation). Finally, these two phenomena are described in different models of associations with phenomena of power, politics and death.
2

Analiza struktury i geneza egzystencji: dwie postacie metody fenomenologicznej

80%
Płotka W.
Kwartalnik Filozoficzny
|
2012
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vol. 40
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issue 3
23 - 41
EN
The article argues that the static and genetic phenomenological methods are complementary rather than opposed. In claiming this, it challenges Jacques Derrida’s interpretation of Edmund Husserl’s philosophy. It is claimed that a proper understanding of the two methods must take into consideration Husserl’s B III 10 manuscript. Using the manuscript the author reconstructs the object, limits, and character of both methods of inquiry. Then it is argued that one is able to use the genetic method to investigate human existence. Indeed, Husserl studies the topic of existence in the E III 6 manuscript and in the Crisis.
3

Fenomenologia jako horyzont normatywności

70%
Maciejczak M.
Kwartalnik Filozoficzny
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2017
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vol. 45
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issue 2
35-49
EN
My aim is to put together Husserl’s main ideas on the phenomenological method, to show the phases of its development as the consciousness’ reflection about itself. The condition of possibility of such reflection is that there be a point of view which guarantees access to the intentional domain, and also that the subject be able to enquire into the ways its intentional experiences are connected to the world. This condition, it is argued here, should be considered to be a regulative idea. Phenomenological reduction, which enables phenomenological reflection, is really an unending process, a series of reductions that lead to evidence. Looking for evidence is the source of the dynamic of consciousness; this primary curiosity, this striving to fulfill intentions lies at the bottom of all its interests and purposes. Cartesian clara and distincta perceptio motivates the positing of each object as real or unreal, possible, probable, or dubious. The search for evidence is, therefore, the character of consciousness as such; striving for evidence makes life of the mind rational, i.e., oriented toward truth and objectivity. Phenomenology, seen as reviving the norms of cognizing and acting, makes it possible to think of the unity of philosophy, science, and life, and is still worth being treated as a cure for today’s irrationality and subjectivity.
4

KONVERGENCIE FENOMENOLÓGIE, PRAŽSKÉHO ŠTRUKTURALIZMU A UMELECKEJ TVORBY. PRÍSPEVOK KU GENEALÓGII FENOMENOLÓGIE V STREDOEURÓPSKOM PRIESTORE

70%
Vydrová J.
Filozofia (Philosophy)
|
2020
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vol. 75
|
issue 2
109 – 120
EN
In the framework of presenting a genealogy of phenomenological philosophy in the Central European context, the article will demonstrate a convergent relation between phenomenology and Prague structuralism and will examine specific topics which derive from this relation. In the first part we address the concepts of attitude, constitution and language, and, in the second, the “situation” of artistic creation as well as the reception of works of art. In this context we also introduce a relevant concrete example of the creative artistic process that sheds light on these topics. From this thematic configuration – in the third part – will follow the question of the scope of the phenomenological method as well as suggestions for the possible interdisciplinary development of phenomenology.
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