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THE PRACTICE OF SUBJECT TRANSFORMATION AND THE PHENOMENOLOGICAL WORKING PROJECT OF PHILOSOPHY (BASED ON HUSSERL’S MANUSCRIPT “SOCRATES-BUDDHA”)

Abstract
The article examines Husserl’s conception of Buddhism, which was largely determined by the reading of the “Majjhima-nikaya” in Karl Eugen Neumann’s translation. It is a general and dotted image in which no distinctions were made regarding the eras, traditions and schools of Buddhist philosophy: an image that an interested European reader might form after reading the 152 sutras of the “Collection of Middle Instructions” of the Pali Canon. Nevertheless, it seems a productive task to interpret this image in order to better explain Husserl’s conception of phenomenology about itself, regardless of the naivety of the image under discussion from the point of view of Buddhology. This article puts forward the following theses for discussion: Husserl understood Buddhist thought as a “conjugate detail (Gegenstück)” that complements the phenomenological science of transcendental subjectivity by contrast. Specifically, he interpreted Buddhism as a path to the transcendental position not from the critique of science, but from practice—as a suspension of the mythical picture of the world and the “practical general thesis” of the natural attitude. Although Buddhist thought according to Husserl, like phenomenology, is aimed at “revealing the transcendental position,” it nevertheless does not establish a science (in the radicalized Husserlian sense). In fact, Husserl uses this rough outline (characterizing Buddhism as “transcendentalism without science”) to emphasize the dynamics of his own phenomenological “working project of philosophy (Arbeitsphilosophie).” The “Collection of Middle Instructions” of the Pali Canon serves as an occasion for Husserl to thematize the specific combination of seriousness and playfulness that characterizes his phenomenology as “carefree care”; this helps Husserl to express the driving force of phenomenological labor (“work fervor” (Arbeitsfieber)).

Keywords
Edmund Husserl, phenomenology, Buddhism, Pali Canon, Socrates, Buddha.

References

• Heidegger, M. (1994). Einführung in die phänomenologische Forschung (Wintersemester 1923–1924) (GA 17). Frankfurt am Main: V. Klostermann.
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• Husserl, E. (2002). Zur phänomenologischen Reduktion. Texte aus dem Nachlass (1926–1935) (Hua XXXIV). Dordrecht: Kluwer.
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• Husserl, E. (2014). Grenzprobleme der Phänomenologie. Analysen des Unbewusstseins und der Instinkte. Metaphysik. Späte Ethik. Texte aus dem Nachlass (1908–1937) (Hua XLII). Dordrecht: Springer.
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• Neumann, K. E. (Ed.). (1922). Die Reden Gotamo Buddhos aus der mittleren Sammlung Majjhimanikāyo des Pāli-Kanons (3 Bd). München: R. Piper & Co.
• Ni, L. (2011). Husserl und der Buddhismus. Husserl Studies, 27 (2), 143–160.
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CINEMATIC PRESENCE IN VIEWERS’ EXPERIENCE

Abstract
The proposed article is aimed at conceptualizing the phenomenon of cinematic presence, as well as the search for possible components for its formation in the viewing experience. Presence, considered in the context of intersubjective interaction, will be viewed as a characteristic of the specific bodily relationships between the cinema and the viewers, as well as an essential aspect of the cinema itself. After analyzing both the fundamental texts theorizing this concept and the theoretical work of modern researchers in the field of cinema, as well as turning to experimental practices and slow cinema, the author deduces her own concept of cinematic presence. The article rejects the notion of presence as a state of involvement in the diegetic world. Instead, the author proposes to view it as distanced co-existence which makes it impossible for the viewer to fully immerse in the film space, but there is an opportunity to get an experience specific only to the situation of watching a film. Corporeality in the broader sense of the word plays an important role in the origin of the named experience. The described effect is themed through intimacy and closeness: viewers find themselves in a transit position, becoming a movie, when there is fusion, a loss of a sense of distance from the other, but at the same time the boundaries between their own body and the body of the film are preserved. The main thesis of the article is that the cinematic presence, grasped in the viewers’ experience, reveals itself not only and not much by exposing parts of the cinematic body, although the manifestation of the specific sensuality of the apparatus is the basis for the formation of presence. The experience of a collision with a cinema as such implies the perception of it as another, possessing agency and preventing the full disclosure of its essence.

Keywords
presence, cinematic experience, corporeality, phenomenology, intimacy, becoming-cinema, slow cinema, experimental cinema.

References

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• Cavell, S. (1979). The World Viewed: Reflections on the Ontology of Film. Massachusetts: Harvard University Press.
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• Gidal, P. (1978). Structural Film Anthology. London: British Film Institute.
• Gumbrecht, H. U. (2006). Production of Presence: What Meaning Cannot Convey. Rus. Ed. Moscow: Novoe literaturnoe obozrenie Publ. (In Russian)
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PHENOMENOLOGY OF THE PLASTIC IMAGE: HOW IS A PHILOSOPHICAL PARABLE POSSIBLE IN SCULPTURE?

Abstract
The article examines the question posed in the title, which implies the consideration of sculpture as a method of sense making by plastic means, revealing the truth of being in spatial form. The study of the phenomenological perspective of this method is built upon I. Kant’s conception of art as a free play of genius, based on reason. The apparent contradiction between the spontaneity of the subjective assumption of an image, which implies the impossibility of its being deduced, and its rationality, assuming an extra-subjective universalism of meaning, is resolved based on the F. Schelling’s doctrine of creation as “a pure being who escapes to any thought” (unvordenkliche) act of the subject positing something in the conceptual horizon of the logical possibilities of its existence uncertainty. The act of vivid imagination and the coherent process of creating art work presupposes not only the subjective arbitrary will of the artist, but also the “intelligence of vision,” connecting the intentional act constituting the image and the counter-intentional act, in which the image created manifests its own teleology, clarifying and elaborating the author’s idea. The sculptor’s consciousness acts as a kind of tuning fork, capable of capturing the accuracy of the sound of the image, its harmony with aesthetic sensibility. At the same time, the expressiveness of the art work, its beauty is the non-verbal aspect of meaning, capable of signifying and expressing the author’s vision of the ideological depth of the chosen theme, which allows the sculptor to create original philosophical parables that heuristically complement verbal forms of thought. These provisions are considered in the context of the sculptural series “Masque Theatre” created by Alexander Apollonov, whose plastic images show various scenarios and complex drama of the relationship between the subject and his personal objectifications, manifested in masks-personalities.

Keywords
sensemaking, imagery, sculpture, intelligence of vision, Kant, Alexander Apollonov, masque.

References

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