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Ever since the beginning of the modern phenomenological movement disciplined attention has been paid to various patterns of human experi­ ence as they are actually lived through in the concrete. This has brought forth many attempts to tind a general philosophical position which can do justice to these experiences without reduction or distQrtion. In France, the best known of these recent attempts have been made by Sartre in his Being and Nothingness and by Merleau-Ponty in his Phenomenol­ ogy of Perception and certain later fragments. Sartre has a keen sense for life as it is lived, and his work is marked by many penetrating descrip­ tions. But his dualistic ontology of the en-soi versus the pour-soi has seemed over-simple and inadequate to many critics, and has been seriously qualitied by the author himself in his latest Marxist work, The Critique of Dialetical Reason. Merleau-Ponty's major work is a lasting contri­ but ion to the phenomenology of the pre-objective world of perception. But asi de from a few brief hints and sketches, he was unable, before his unfortunate death in 1961, to work out carefully his ultimate philosophi­ cal point of view. This leaves us then with the German philosopher, Heidegger, as the only contemporary thinker who has formulated a total ontology which claims to do justice to the stable results of phenomenology and to the liv­ ing existential thought of our time.
Folk is an analog foundation in a digital world. Phenomenology is a big word about a small, impossible task: trying to imagine the real. This book describes this task in relation to its foundation. Most of all, Folk Phenomenology is a defense of the integrity and sufficiency of art--thinking, feeling, living, dying. In short, being in love. .embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }
Introduces the history and methods of Phenomenology through the study of four key thinkers: Husserl, Heidegger, Sartre and Merleau-Ponty.
Phenomenology, the philosophical method that seeks to uncover the taken-for-granted presuppositions, habits, and norms that structure everyday experience, is increasingly framed by ethical and political concerns. Critical phenomenology foregrounds experiences of marginalization, oppression, and power in order to identify and transform common experiences of injustice that render “the familiar” a site of oppression for many. In Fifty Concepts for a Critical Phenomenology, leading scholars present fresh readings of classic phenomenological topics and introduce newer concepts developed by feminist theorists, critical race theorists, disability theorists, and queer and trans theorists that capture aspects of lived experience that have traditionally been neglected. By centering historically marginalized perspectives, the chapters in this book breathe new life into the phenomenological tradition and reveal its ethical, social, and political promise. This volume will be an invaluable resource for teaching and research in continental philosophy; feminist, gender, and sexuality studies; critical race theory; disability studies; cultural studies; and critical theory more generally.
In this book, Robert Sokolowski argues that being a person means to be involved with truth. He shows that human reason is established by syntactic composition in language, pictures, and actions and that we understand things when they are presented to us through syntax. Sokolowski highlights the role of the spoken word in human reason and examines the bodily and neurological basis for human experience. Drawing on Husserl and Aristotle, as well as Aquinas and Henry James, Sokolowski here employs phenomenology in a highly original way in order to clarify what we are as human agents.
'Erotikon' brings together leading contemporary intellectuals from a variety of fields for an expansive debate on the full meaning of eros. Restricted neither by historical period nor by genre, these contributions explore manifestations or eros throughout Western culture.
Eros considers a promise left unfulfilled in Sigmund Freud’s Beyond the Pleasure Principle. Rosaura Martínez Ruiz argues that when the pleasure principle comes into contact with the death drive (the human tendency toward aggression or cruelty), the psyche can take detours that, without going beyond the limit of the pleasure principle, can nevertheless defer it. Eros reflects on these deviations of the pleasure principle, in the political sphere and in the intimate realm. Following these erotic paths, Martínez argues that the forces of the death drive can only be resisted if resistance is understood as an ongoing process. In such an effort, erotic action and the construction of pathways for sublimation are never-ending ethical and political tasks. We know that these tasks cannot be finally accomplished, yet they remain imperative and undeniably urgent. If psychoanalysis and deconstruction teach us that the death drive is insurmountable, through aesthetic creation and political action we can nevertheless delay, defer, and postpone it. Calling for the formation and maintenance of a “community of mourning duelists,” this book seeks to imagine and affirm the kind of “erotic battalion” that might yet be mobilized against injustice. This battalion’s mourning, Martínez argues, must be ongoing, open-ended, combative, and tenaciously committed to the complexity of ethical and political life.
In an age which is supposedly experiencing a sexual revolution, a volume of thoughtful essays on eros is not only not out of place but perhaps is a positive contribution to the understanding of contempor ary man. It was the conviction of the editors that the scientific view of sexuality, as promoted in such valuable studies as those conducted by Masters and Johnson, needed considerable supplement and per spective. The perspective is here furnished by writers from both Europe and America, authors from various fields, such as philosophy, psychology, and even musicology, all of whom are united, in that their approach to the problem of eros is phenomenologically oriented. At first it might well seem strange that musicology would have much to say about eros. It is true, musicology has been the "science" of music, at least in intent. Yet in a larger view of the discipline, philo sophical and aesthetic problems are also important to it, and this particularly if we agree with Enzo Paci, that our very culture depends on eros. Surely musical culture, as pointed out by Kierkegaard, is the embodiment of what western civilization has known as sensuality; and Mozart's Don Giovanni is its incarnation. On the surface it is easier for us to grasp the work of the philosopher in this area; and, of course, one expects the psychologist to deal with sexuality more explicitly than anyone else.
In this reissused work, first published in 1991, John Rajchman isolates the question of ethics in the work of Foucault and Lacan and explores its ramifications and implications for the present day. He demonstrates that the question of ethics was at once the most difficult and the most intimate question for these two authors, offering a complex point of intersection between them. As such, he argues that it belongs to the great tradition that is concerned with the passion or eros of philosophy and of its "will to truth". Truth and Eros suggests a way of reading Foucault and Lacan as philosophers who re-eroticised the activity of thought in our time, opeing new and different spaces for thought and action - new types of subjectivity.