kaveh khoorabeh; Ahmad Ali Heydari
Abstract
The issue of cognition is one of the important issues that philosophers attempted to find out its process of identifying and interacting with the mind or subject of thought by facing the outside world. In this process, what precede cognition are the ontological problem of the existing reality and the ...
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The issue of cognition is one of the important issues that philosophers attempted to find out its process of identifying and interacting with the mind or subject of thought by facing the outside world. In this process, what precede cognition are the ontological problem of the existing reality and the interaction of the thinking subject with the outside world. Since philosophers have distanced between cognition and reality and considered minds as tools and media for the attainment of truth and reality, Hegel has been critical of these attitudes in order to redefine cognition as science. Therefore, he should be considered the pioneer of the phenomenological project in the field of philosophical thought. In his phenomenology, the question of the process of human cognition is simulated with the whole of philosophical thought throughout history. In this essay, the authors attempt to show how Hegel enables the transition from the stage of natural consciousness to the attainment of absolute cognition by rejecting Kant's existing reality into two areas of phenomenal and invariant.
Ehsan Karimi Torshizi; Ahmad Ali Heidari
Abstract
In early 20th century, a widespread tendency toward a philosophical anthropology was dominant over the intellectual space in Germany, and it was so deep and extensive in its influence that phenomenology had to react and take a stance against it. This initial stance appeared be an essential conflict of ...
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In early 20th century, a widespread tendency toward a philosophical anthropology was dominant over the intellectual space in Germany, and it was so deep and extensive in its influence that phenomenology had to react and take a stance against it. This initial stance appeared be an essential conflict of a sort, so that Blumenberg coined the term “anthropological ban” regarding Husserl’s and Heidegger’s Phenomenologies. In this paper, we have tried to illustrate that such a confliction is neither essential nor absolute, meaning that it is quite legitimate to talk about a philosophical anthropology of a sort based on Husserl’s and Heidegger’s Phenomenologies. Thus, the plot and general characteristics of such a phenomenological anthropology, in terms of Heidegger's existential analysis of Dasein as a Fundamental ontology in his Sein und Zeit, has been depicted, and its fundamentally different anthropological pattern comparing with that of a traditional anthropology has also been demonstrated.
seyed rahman mortazavi; Amir Nasri
Abstract
This paper is about Corbin's investigations in aesthetics. These investigations are a part of his universal project named "comparative theology". Corbin's comparative aesthetics is founded on his perception of phenomenology; the one he calls "tawil". So in a successful comparative effort, all phenomena ...
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This paper is about Corbin's investigations in aesthetics. These investigations are a part of his universal project named "comparative theology". Corbin's comparative aesthetics is founded on his perception of phenomenology; the one he calls "tawil". So in a successful comparative effort, all phenomena must be compared to its sources. So for a comparative aesthetics, we should search for common sources, and these common sources can only be reached by esoteric tawil. This esoteric tawil based on a special perception on time and truth. And this perception makes real understanding, i.e. "Waai" possible. Henry Corbin contents only with this esoteric tawil, we can compare tow works of art with extreme geographical distance. A task Corbin claims to do. We try to find out that pattern which Corbin's comparative aesthetics is based on; so this paper begins, presenting methodological elements of this comparative aesthetics and is to be ended by Corbin's analysis in this field.
Ehsan Karimi Torshizi; Hedieh Yaghubi Bojmaeh
Abstract
In this paper, we shall demonstrate that the Cartesian approach to the res extensio and taking it as the most fundamental, essential determination of Vorhandenheit, though Descartes’ ontology is not rich enough to explain the relationship between pure extension and Dasein’s existential spatiality, ...
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In this paper, we shall demonstrate that the Cartesian approach to the res extensio and taking it as the most fundamental, essential determination of Vorhandenheit, though Descartes’ ontology is not rich enough to explain the relationship between pure extension and Dasein’s existential spatiality, has its own phenomenological justifications in Heidegger’s view. In order to clarify Heidegger’s stance, we shall first study the distinctive characteristics of existential space as well as its ontological foundations. Meanwhile, existential space proves to be ultimately rest on Dasein’s own existence. Next, we shall turn to the transition from existential space to Cartesian space as a pure extension via the process of Entweltlichung. Cartesian space will thus prove to be a necessary resultant of depriving existential space of its richness and purposiveness of human meanings. It is in the context of this more comprehensive ontology that the relation of Cartesian space with existential one and spatiality of Dasein, on one hand, and the ontological deficiency of Cartesian approach, on the other, would be elucidated. Finally, we shall show that assuming extension as the essential determination of Vorhendenheit, and thus Cartesian space, as a totally meaningless, and deprived of all Dasein’s circumspective concerns which underlie existential space and Dasein’s everyday experience, is not so much refuted by Heidegger’s ontology as regarded to be phenomenologically justified. Moreover, It is so fertile that has paved the way for the subsequent paradigm shift in mathematics and theoretical physics in the 19th century.
Ahmad Rajabi
Abstract
In the lecture History of the Concept of Time: Prolegomena Heidegger levels an immanent phenomenological criticism at Husserl’s transcendental phenomenology. In the lecture, Heidegger accuses Husserl that he neglects to raise two fundamental questions for the phenomenology: the question concerning ...
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In the lecture History of the Concept of Time: Prolegomena Heidegger levels an immanent phenomenological criticism at Husserl’s transcendental phenomenology. In the lecture, Heidegger accuses Husserl that he neglects to raise two fundamental questions for the phenomenology: the question concerning the specific manner of being of the intentional acts in particular and the manner of being as such in general. By his criticism, Heidegger returns to the starting point of Husserl‘s phenomenology, i.e. the shift from natural attitude to transcendental attitude, and thereby reaching his own understanding of the matter of phenomenology. As is well known, Heidegger substitutes the Dasein for the transcendental consciousness and refuses the Husserl’s epoché and his transcendental reduction. In the following paper, on the contrary, we attempt to interpret Heidegger’s criticism in another way, which is that Heidegger adopts not only the transcendental reduction but also the absolute transcendental subjectivity. To put it more precisely, Heidegger radicalizes the absoluteness of the absolute transcendental subjectivity in Husserl’s Philosophy so much that he will be able to eliminate the Husserl’s natural attitude as a non-phenomenological and dogmatic starting point for the phenomenology. Accordingly, we claim that Heidegger’s Dasein is substituted for the absoluteness of subjectivity and the finitude of human existence simultaneously.
Mohammad reza Abolghassemi
Abstract
Roman Ingarden (1893-1970) is considered as the founder of ontology of art. Having been influenced by Husserl phenomenological doctrines, Ingarden argues that work of art and aesthetic object are ontologically two different entities. The work of art is ontically similar to other real objects while the ...
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Roman Ingarden (1893-1970) is considered as the founder of ontology of art. Having been influenced by Husserl phenomenological doctrines, Ingarden argues that work of art and aesthetic object are ontologically two different entities. The work of art is ontically similar to other real objects while the aesthetic object has an intentional nature which is constituted by intentional acts in the consciousness of the audience. Classical music ontology is twofold: on the one hand, the musical work is identical with the score and, on the other, it finds its concretization during the performance. The ontology of literary work of art is layered and manifests plurality of its structure. According to Ingarden, every work of art has spaces of indeterminacy which are fulfilled by the audiences through their aesthetic experiences. The audience completes these spaces through the concretization. Thus, the perception of the work of art necessitates the active participation of the audience in an intersubjective manner.
Mehdi khabbazi kenari; Safa Sebti
Abstract
In Phenomenological approach , regardless of the rules and rationality, the body is seen as a phenomenon that puts the subject exposed to the experience and sensibility. In this approach, the debate over the relationship between the subject , the world and the body is not based on the ontology of the ...
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In Phenomenological approach , regardless of the rules and rationality, the body is seen as a phenomenon that puts the subject exposed to the experience and sensibility. In this approach, the debate over the relationship between the subject , the world and the body is not based on the ontology of the subject and not on the basis of his knowledge of the world , but based on his experience and somatic proximity with the world. This paper seeks to address the phenomenology of Husserl , Merleau-Ponty and Levinas , with a focus on the body and the concept of embodiment , analyzes the contact points as well as differences in approaches and ideas of this philosophers. In the current study, based on the views of the philosophers, we are trying to respond to intertwined questions which are all linked with the body and embodiment of the subject . Also, we want to know how embodiment subject understands the world. The result is that, the body is not the means or the way to understand the world, but embodiment is the situation for vital living in the world and the possibility for our moral living whit the other. This article by phenomenological approach based on the books and articles by means of descriptive - analytical and critical comparison of the philosophers , seeks for answers to the research questions.
Nader Shayganfar; Zeynab Saber
Volume 11, Issue 43 , October 2015, , Pages 113-136
Abstract
The French phenomenological philosopher, Maurice Merleu-Ponty, tried to understand art works and related concepts taking recourse to phenomenological approach. In the new point, he tried to understand art by emphasizing on the being- in-the-world relying on perception’s term and it’s relation ...
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The French phenomenological philosopher, Maurice Merleu-Ponty, tried to understand art works and related concepts taking recourse to phenomenological approach. In the new point, he tried to understand art by emphasizing on the being- in-the-world relying on perception’s term and it’s relation to art. Based on the some of the concepts such as intentionality, living experiences, art style, establishing and etc. Merleu-Ponty wants to conceive a new interpretation from art. The museum is essential in Merleu-Pontyꞌs thoughts since it has deeply related with art affairs with relying on its history.
The main question of this article is that how relation between lived experiences and museum is. Based on Merleu-Pontyꞌs vital philosophy, this article concerns phenomenologically to critic the role of museum and indicates that the meaning of phenomenological establishing and storing is different from what is aiming in museum. This study targets the questions of how much honest are the museums in storing as well as how much this honesty is influenced by the social and cultural elements.
