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Nowe ego – fenomenologiczny Absolut.

100%

Ucińska D.

Nowa Krytyka

2016

issue 36

189-205

This article deals with the analysis of the pure consciousness in phenomenology. The reduction carried out by phenomenologists presented in the article reveals the existence of the absolute area of consciousness. This in turn leads to a new perception of the Absolute which can be described within its actions while remaining transcendental. My analysis I begin with explaining what is and what is the result of the epoche reduction and transcendental reduction. Then I present an analysis of the internal awareness of time as presented by Husserl and explain why it reveals the absolute sphere of human consciousness. Further, I analyze the views of phenomenologists such as R. Ingarden, A.T. Tymieniecka, E. Stein, E. Fink, L. Landgrebe, L. Quentin regarding transcendental „I” and absolute consciousness. From the analysis emerges an image of the Absolute which is based on subjectivity and relations among subjects.

From the Body to the Melody: “Relearning” the Experience of Time in the Later Merleau-Ponty

84%

Wiskus J.

Avant

2018

vol. 9

issue 2

129-140

If, as Maurice Merleau-Ponty writes, “True philosophy consists in relearning to look at the world,” and if Merleau-Ponty is accordingly often described as a philosopher of the body or a philosopher of painting, how are we to understand the apparently new turn to music that Merleau-Ponty makes toward the end of the final completed chapter, entitled “The Intertwining-The Chiasm,” of The Visible and the Invisible? I argue that the course of the “Chiasm” chapter moves from a concern for the reciprocal intertwining of body and world to a concern for the Ineinander of temporality. Thus, there are two dimensions involved in forming Merleau-Ponty’s chiastic structure of the flesh: the fecundity of the sensible world in the dimension of simultaneity and the transcendence of the subject in the dimension of succession. The aim of this article is to explore the part of this structure that pertains to the temporal movement of transcendental intersubjectivity. Focusing on Merleau-Ponty’s adaptation of Husserl’s term, Ineinander, I trace the musical context of the term from Merleau-Ponty’s course notes, “Philosophie aujourd’hui” to the final passages from the “Chiasm” chapter of The Visible and the Invisible, understanding the Ineinander as it pertains to the relation of past and present. Contrary to the overflowing sense of presence experienced by the body in the world, the Ineinander is characterized by succession-by the écart-and finds its natural expression in the movement of music. Thus, the chiastic structure at the heart of Merleau-Ponty’s philosophy of the flesh expresses not only the immersion of a body in the world that sees; it expresses also, as that which is no longer and that which is to come, a creative, melodic movement of time.

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Nowe ego – fenomenologiczny Absolut.

From the Body to the Melody: “Relearning” the Experience of Time in the Later Merleau-Ponty