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This collection is the first extended investigation of the relation between time and memory in Maurice Merleau-Ponty’s thought as a whole and the first to explore in depth the significance of his concept of institution. It brings the French phenomenologist’s views on the self and ontology into contemporary focus. Time, Memory, Institution argues that the self is not a self-contained or self-determining identity, as such; it is gathered out of a radical openness to what is not self, and that it gathers itself in a time that is not merely a given dimension, but folds back upon, gathers, and institutes itself. Access to previously unavailable texts, in particular Merleau-Ponty’s lectures on institution and expression, has presented scholars with new resources for thinking about time, memory, and history. These essays represent the best of this new direction in scholarship; they deepen our understanding of self and world in relation to time and memory; and they give occasion to reexamine Merleau-Ponty’s contribution and relevance to contemporary Continental philosophy. This volume is essential reading for scholars of phenomenology and French philosophy, as well as for the many readers across the arts, humanities, and social sciences who continue to draw insight and inspiration from Merleau-Ponty. Contributors: Elizabeth Behnke, Edward Casey, Véronique Fóti, Donald Landes, Kirsten Jacobson, Galen Johnson, Michael Kelly, Scott Marratto, Glen Mazis, Caterina Rea, John Russon, Robert Vallier, and Bernhard Waldenfels
This book contains twelve engaging philosophical lectures given by Alexandru Dragomir, most of them given during Romania’s Communist regime. The lectures deal with a diverse range of topics, such as the function of the question, self-deception, banalities with a metaphysical dimension, and how the world we live in has been shaped by the intellect. Among the thinkers discussed in these lectures are Anaxagoras, Socrates, Plato, Aristotle, Descartes, and Nietzsche. Alexandru Dragomir was a Romanian philosopher born in 1916. After studying law and philosophy at the University of Bucharest (1933–1939), he left Romania to study for a doctorate in philosophy in Freiburg, Germany, under Martin Heidegger. He stayed in Freiburg for two years (1941–1943), but before defending his dissertation he was called back to Romania for military service and sent to the front. After 1948, historical circumstances forced him to become a clandestine philosopher: he was known only within a very limited circle. He died in 2002 without ever publishing anything. It was only after his death that Dragomir's notebooks came to light. His work has been published posthumously in five volumes by Humanitas, Bucharest; the present volume is the first to appear in English translation. In 2009, the Alexandru Dragomir Institute for Philosophy was founded in Bucharest as an independent research institute under the auspices of the Romanian Society for Phenomenology.
The Oneiric in the Films of David Lynch is the first systematic book-length study to explore the nature and function of dreams in David Lynch's different phases and audio-visual formats. There is hardly a contemporary film director whose name is as closely linked to the dream(-like) as that of David Lynch. Both popular and academic discourse frequently identify Lynch's films by their dreamlike qualities. However, in the existing literature on Lynch, these qualities tend to remain underspecified in terms of their experiential dimension. Departing from an interest in the phenomenon of dream experience, this is the first systematic book-length study exploring the nature and function of the oneiric in the director's different phases and audio-visual formats. It shows that, over the course of 50 years, Lynch has developed a cinematic aesthetics of the oneiric ? an ensemble of four dream-related dimensions that unfolds its full potential in the dynamic interplay between sensory address and reflective medialization. On the one hand, the Lynchian oneiric presents a markedly sensory-perceptual mode of experience – both characters and viewers are challenged in their perceptual patterns, while at the same time being immersed in the material dream scenario. On the other hand, the Lynchian oneiric provides a mode of both psychological and medial reflection. Not only the characters, but the films themselves are inclined to 'turn back' on themselves in a dream, exploring the preconditions, possibilities, and limitations of their own existence and ability to know the world. The oneiric in Lynch's films is thus of phenomenological, media-theoretical, and philosophical interest.
Poetics, Praxis and Critique: Paul Ricoeur in the Age of Hermeneutical Reason addresses contemporary problems of justice, the recognition of disabled persons, the role of imagination in political judgment, the need for religious hospitality and carnal hermeneutics. The essays in this volume are a testament to the power of hermeneutical reason. Following Paul Ricoeur’s style of philosophizing, they explore innovative solutions to pressing issues of our time. Individually, these essays advance new perspectives on the anthropological presuppositions behind the requirement of justice, the role played by convictions and beliefs in pluralistic contexts, and the place of a post-critical religious faith. Together, they demonstrate the value of a hermeneutical mode of reasoning in an age in which conflicts, tensions and violence abound. Their thoughtful engagement with current challenges attests to this volume’s conviction that we, with others, have the ability to intervene in the course of the world to the benefit of all.