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THE SHADOW TO THE END OF EPOCHE

Abstract
The postulate of Husserlian phenomenology, according to which evidence is the giving of thought to the thing, also contemplates the possibility that certain ways of givenness may be achieved by transgressing the dynamics proper to intellectual intuition. Thus, the primacy of direct perception would be replaced by a system of relations between thought and thing in respect of which there would be no single evidence. This outcome, rather than the finiteness of human subjectivity, should bring one back to the very essence of the object. Evidence would therefore know a conversion that would make it coincide with the ultimate degree of visibility, corresponding to the invariant element of the object. But the attestation, in Husserl’s reflection, of an a priori rooted in the factual or in a “definitively true world” would imply in turn the assumption of a perspective inclined to a form of realism sustained by a “minimum of reality.” This would entail a phenomenology in which the manifestation of entities is no longer linked to the subjective sphere but to a dimension of self-evidence within which the phenomenon coincides with its own evidence. In this sense Husserl seems to reach the acquiescentia in re ipso of the phenomenon: a dwelling of it in its own essence; a dwelling in which the phenomenon would not reveal itself through any grammar of the visible.

Key words
Husserl, evidence, essences, world, non-subjective phenomenology, shadow.

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CRITIQUE OF IDEOLOGY IN GADAMER’S HERMENEUTICS AND HABERMAS’ CRITICAL THEORY

Abstract
The subject of this article is the debate of Gadamer and Habermas about the nature of critical thinking, the relationship between freedom and authority, the individual and traditions, documented in the book Hermeneutics and Criticism of Ideology (1971). Central to the author is the question: “What understanding of critical thinking would allow us to gain a higher degree of resistance to ideology?” The author consistently solves several problems. First, the author clarifies the meaning and significance of the key concepts of “ideology” and “criticism” in the critical theory of Frankfurt School and philosophical hermeneutics. Thanks to these explanations, becomes clear the basis for the possibility of a productive polemic between philosophical hermeneutics and critical theory. Secondly, in the analysis of the main lines of criticism by Habermas against the hermeneutical project of Gadamer, the author explicates the strengths and weaknesses in the argumentation of the opposing parties. The focus here is the problem of the relationship of critical reflection with prejudice, authority and tradition, the problem of theoretical maturity and methodological support of hermeneutics, the problem of forming a basic consensus of understanding and interaction. Based on a comparative analysis of the arguments and counterarguments of Gadamer and Habermas, the author shows the non-trivial nature of critical thinking and reveals new aspects in understanding the concept of criticism of ideology. The result of the comparative analysis is the idea of an integrative concept of ideology criticism, which allows productive use of the strengths of the critical and hermeneutic approaches, and thereby provide a higher resistance to ideology at the collective and individual levels.

Key words
Ideology, criticism, authority in cognition, tradition, Habermas critical theory, Gadamer’s philosophical hermeneutics, integrative concept of ideology criticism.

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A SPECULATIVE MEDIUM: THE MATERIAL DIMENSION OF THE INTERPRETIVE EXPERIENCE IN GADAMER’S HERMENEUTIC PHILOSOPHY

Abstract
Key innovation of phenomenological, or philosophical hermeneutics is the treatment of ‘understanding’ not as an operation with symbols and meanings but as an activation of the specific experiential forms, including correlative affective and bodily potentials as well as respective ‘aggregate states’ of the material-perceptual environment. In this regard, understanding is a kind of transposition from one material and bodily configuration into another. In each case, configuration is comprised of ‘subjective’ (experience) and ‘objective’ (milieu) components. But while ‘subjective’ side of ‘hermeneutic phenomenon (‘hermeneutic event’) is elaborated by Gadamer relatively detailed (for example, “theory of hermeneutic experience” makes up the central—systemic—part of Truth and Method), dynamics of the ‘objective’ side (and first of all, of its material dimension) is just indicated by the use of the vivid metaphors (for example, “fusion of horizons” or “increase in being”) or by description of everyday material practices in which ‘microphysics’ of transformative dynamics of ambient environments is implicated but not discussed overtly, as, for example, in case of Gadamer’s references to architecture, décor, and gestures. The problem here is that the ‘strong’ treatment of the transformative potential of hermeneutic experience presupposes the strong transformation affecting not only interpreter’s consciousness but also materiality of his body and ambient environments. The elements of such a ‘strong’ treatment of transformative potential of understanding, we find in Gadamer’s conception of the speculative schematically presented in the two concluding sections of his Truth and Method.

Key words
Speculative medium, transubstantiation, materiality, mediality, perceptual faith.

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Article/Publication Details
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THE HERMENEUTICS OF PLAY AND VIRTUALIZATION OF THE WORLD THROUGH THE ART IN GADAMER’S WORKS

Abstract
The article concerns the significance of the semantic connective of understanding and playing in Gadamer’s hermeneutical analysis of the experience of art. In the spotlight is a question of constructing of imaginary (virtual) worlds as a play-based reality of understanding. It argues the appeal to the experience of art as a paradigmatic subject of hermeneutical work and emphasizes the importance of understanding of such experience as a special kind of play that takes us to the ontology plane, as opposed to the classic aesthetic view on this subject. Along with the explication of a general idea of the play in Gadamer’s hermeneutics, it also examines the main features of the artistic game itself, turning it into a multidimensional being of a special kind and a zone of gaining human freedom. The problematization of language also reveals it as the medium for the development of the artistic play and understanding, and the ethical aspects of the hermeneutic dialogue in the ongoing game is a theme of a special interest here too. The author develops his theoretical considerations based on comparative hermeneutic analysis of Hölderlin’s verses in the works of M. Heidegger and G. Gadamer, which reveals the diversity and non-linearity of our interpretation of culture, the ability to see in it an inexhaustible source of new meanings and associative connections as a result of a play of art and its understanding.

Key words
Hermeneutics, the work of art, play, game, Gadamer, play ontology, language, culture.

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