Niniejszy artykuł stanowi próbę krytycznego zmierzenia komplementarności fenomenologii (nie tylko w ujęciu lévinasowskim) i możliwości jej wykorzystania podczas odkrywania i badania wyjątkowych dzieł, którymi współczesną kulturę obdarza Marta Tomczyk. Artystka, dokonując szczerej autowiwisekcji w jednym ze swoich cyklów obrazów, zaprasza odbiorcę do spotkania z Innym. Należy jednak zadać pytanie: czy fenomenologia Lévinasa, opowiadająca o spotkaniach i poznawaniu Innego, będąca tą fenomenologią, która wychodzi poza ramy Husserlowskiego myślenia, jest wystarczająca?
EN
This article is an attempt to measure the complementarity of phenomenology (not only in Lévinas’ understanding) and the possibility of using it to explore and research the exceptional works with which Marta Tomczyk has endowed modern culture. The artist, through a frank auto-vivisection in one of her cycles of paintings, invites the viewer to a meeting with the 'Other'. We need to aske whether Lévinas’ phenomenology, which tells about meeting and recognizing the 'Other', being that phenomenology that goes beyond the frames of Husserl’s thinking, is enough?
The article focuses on the analysis of the 1919 poster entitled “Beat the Whites with the Red Wedge”. The intention of the text is to demonstrate the artist’s inspirations with Jewish mysticism, messianism and Kabbalah, exploited for the needs of the Soviet, revolutionary interpretation of building a new world
This article discusses different ways of understanding compositions of being, and different methods for discerning them. It considers non-metaphysical (physical, scientistic, phenomenological, abstractionist) interpretations in order to decide whether metaphysics can use them to discover and gain knowledge of the elements that determine the deepest structure of beings, and which set their mode of being. The paper also shows how much the metaphysical method for discerning the compositions of being is different from non-metaphysical methods.
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