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DRAGAN PROLE
EQUALITY O THE UNEQUAL. PHENOMENOLOGY AND EARLY AVANT-GARDE MOVEMENTS

Abstract
The paper is a translation of an article by D. Prole which examines the difference and the resemblance of the phenomenological project and the early avant-garde movements. Responding to the crisis of the classical in the realms of aesthetics and strict philosophy both phenomena strive for authenticity, approaching it each in their own way: the Dadaists and the Expressionists fundamentally reject all the rationality and oppose academicism, while phenomenologists do not dispute the academic tone of philosophizing, even when they go beyond the Husserlian methodology. Phenomenology absorbs the classical spirit and places it at the heart of modern philosophizing. Exploring the kindship of phenomenology with the early avant-garde, the author focuses on the concept of neutralization, which replaced the concept of negation in the 20th century. Turning to the understanding of neutralization by Husserl, Heidegger, Sartre, Adorno, the author shows that both in the field of the free artistic experiment and within the framework of the strict philosophical discourse, neutralization enables contemporary subjectivity to present itself as a distant individuality. The preface to the translation discusses the possibility of placing phenomenology in a situation of dialogue with the theories and practices of the Russian avant-garde. The similarity of two approaches is evidenced by the examples of the Russian avant-gardists’ appeal to the tradition and their sensory approach to the experience of reality.

Keywords
phenomenology, avant-garde, Russian avant-garde, lifeworld, aesthetic experience.

References

• Adorno, T. (1991). Culture Industry Reconsidered. In The Culture Industry (98–106). London; New York: Routledge.
• Agamben, G. (2009). What is Contemporary? In What is an Apparatus? and Other Essays (39–54). Stanford: Stanford University Press.
• Breton, A. (1994). Nadja. New York: Grove Press.
• Descombes, V. (1980). Modern French Philosophy. Cambridge: Cambridge University Press.
• Heidegger, M. (1999). Contributions to Philosophy (From Enowning). Bloomington, Indianapolis: Indiana University Press.
• Heidegger, M. (1997). Being and Time. Rus. Ed. Moscow: Ad Marginem Publ. (In Russian)
• Lošonc, A., & Gvozden, V. (2016). Avangarda na rasprodaji. In Anatomija robe. Ogled iz kritike političke ekonomije (143–182). Novi Sad: Adresa.
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• Plas, B., & Verdier, H. (1947). La publicité. Paris: PUF.
• Zarader, M. (2012). Lire Être et Temps de Heidegger. Paris: Vrin.

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THE PREFACE TO THE TRANSLATION OF DRAGAN PROLE’S ARTICLE “EQUALITY OF THE UNEQUAL. PHENOMENOLOGY AND EARLY AVANT-GARDE MOVEMENTS”

Abstract
The paper is a translation of an article by D. Prole which examines the difference and the resemblance of the phenomenological project and the early avant-garde movements. Responding to the crisis of the classical in the realms of aesthetics and strict philosophy both phenomena strive for authenticity, approaching it each in their own way: the Dadaists and the Expressionists fundamentally reject all the rationality and oppose academicism, while phenomenologists do not dispute the academic tone of philosophizing, even when they go beyond the Husserlian methodology. Phenomenology absorbs the classical spirit and places it at the heart of modern philosophizing. Exploring the kindship of phenomenology with the early avant-garde, the author focuses on the concept of neutralization, which replaced the concept of negation in the 20th century. Turning to the understanding of neutralization by Husserl, Heidegger, Sartre, Adorno, the author shows that both in the field of the free artistic experiment and within the framework of the strict philosophical discourse, neutralization enables contemporary subjectivity to present itself as a distant individuality. The preface to the translation discusses the possibility of placing phenomenology in a situation of dialogue with the theories and practices of the Russian avant-garde. The similarity of two approaches is evidenced by the examples of the Russian avant-gardists’ appeal to the tradition and their sensory approach to the experience of reality.

Keywords
phenomenology, avant-garde, Russian avant-garde, lifeworld, aesthetic experience.

References

• Gasparov, B. (2017). Futurism and Phonology. In N. S. Avtonomova (Ed.), Roman Osipovich Yakobson (270–296). Moscow: ROSSPEN Publ. (In Russian)
• Kandinsky, V. (1918). Artist’s Text: 25 Reproductions from Paintings of 1902–1917. 4 Vignettes. Moscow: Izdanie Otdela izobrazitel’nykh iskusstv Narkomprosa Publ. (In Russian)
• Livshits, B. (1989). One-and-a-half-eyed Sagittarius: Poems. Translations. Memories. Leningrad: Sovetskii pisatel’ Publ. (In Russian)
• Malevich, K. (1998). Collected Works. Vol. 1. Moscow: Gileia Publ. (In Russian)
• Merlau-Ponty, M. (1992). The Eye and the Spirit. Rus. Ed. Moscow: Iskusstvo Publ. (In Russian)
• Prole, D. (2018). Jednakost nejednakog. Fenomenologija i rane avangarde. Sremski Karlovci, Novi Sad: IKZS.

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ART EDUCATION AND THE WORLD OF LIFE: MICHEL HENRY ON THE CULTURAL VALUE OF ART

Abstract
A commonplace criticism of Michel Henry’s phenomenology of life is that it denies that the subject’s existence in the world is of any importance to life’s flourishing. Henry’s phenomenological study of art and aesthetics, including his study of the work of Russian art-theorist and painter Wassily Kandinsky, has typically been understood as reinforcing this very position. This paper will argue that those who critique Henry's study of art, and indeed his phenomenology more generally, on these grounds are both right and yet mistaken. They are right in that the flourishing of absolute life does not depend on the subject’s worldly existence. However, they are mistaken in that from the point of view of human beings, the finite subject’s existence in the world, particularly her engagement with the arts, does play a part in the well-being of their life. In support of this position, I will argue that Henry’s study of art and aesthetics reveals that our worldly relationship with art plays a role in educating our feelings, and that this education is vital to the flourishing of the life of finite living beings. Our engagement with art does this, as I will show, by enhancing our attunement to ourselves, others, life, and the world, and in allowing us to experience and understand the world as an expression of life, and as therefore being important to us personally. As further testament to the importance of our worldly engagement with art for life, I will show how, in Henry’s view, our worldly engagement with bad art plays a part in the corruption of life and thereby stunts our emotional growth and leads us to feel increasingly alienated from the world.

Keywords
life, affectivity, art, education, culture, barbarism, world.

References

• Aaron Simmons, J., & Scott, D. (2017). Is there Life after Barbarism? Phenomenological Reflections on Science and the Future of the University. Pli: The Warwick Journal of Philosophy, 28, 1–31.
• Bernet, R. (1999). Christianity and Philosophy. Continental Philosophy Review, 32, 325–342.
• Collingwood, R. G. (1938). The Principles of Art. Oxford: Clarendon Press.
• Giraud, V. (2012). L’esthétique comme philosophie première. In A. Jdey & R. Kühn (Eds.), Michel Henry et l’affect de l’art: Recherches sur l’esthétique de la phénoménologie matérielle (41–64). Leiden: Brill.
• Hatem, J. (2004). Le sauveur et les viscères de l’être: Sur le gnosticisme et Michel Henry. Paris: L’Harmattan.
• Henry, M. (1973). The Essence of Manifestation (G. Etzkorn, Trans.). The Hague: Martinus Nijhoff.
• Henry, M. (2003). I Am the Truth: Toward a Philosophy of Christianity (S. Emanuel, Trans.). Stanford: Stanford University Press.
• Henry, M. (2008). Material Phenomenology (S. Davidson, Trans.). New York: Fordham University Press.
• Henry, M. (2009). Seeing the Invisible: On Kandinsky (S. Davidson, Trans.). London: Continuum.
• Henry, M. (2012). Barbarism (S. Davidson, Trans.). London: Continuum.
• Henry, M. (2014). From Communism to Capitalism: Theory of a Catastrophe (S. Davidson, Trans.). London: Bloomsbury.
• Henry, M. (2015). Incarnation: A Philosophy of Flesh (K. Hefty, Trans.). Evanston: Northwestern University Press.
• Husserl, E. (1983). Ideas Pertaining to a Pure Phenomenology and to a Phenomenological Philosophy. First Book: General Introduction to a Pure Phenomenology (F. Kersten, Trans.). The Hague: Martinus Nijhoff.
• Kant, I. (2007). Critique of Judgement (J. C. Meredith, Trans.). Oxford: Oxford University Press.
• Kühn, R. (2000). Crise de la culture et vie culturelle. In J. M. Longneaux (Ed.), Retrouver la vie oubliée: Critiques et perspectives de la philosophy de Michel Henry (139–63). Namur: Presses universitaires de Namur.
• Langer, S. K. (1953). Feeling and Form: A Theory of Art. New York: Charles Scribner’s Sons.
• Schaefer, M. (2023). Turning the Natural World into a Moral World: Michel Henry on the Vocation of Life. Human Studies: A Journal for Philosophy and the Social Sciences, 47, 349-365.
• Seyler, F. (2012). From Life to Existence: A Reconsideration of the Question of Intentionality in Michel Henry’s Ethics. Journal of French and Francophone Philosophy — Revue de la Philosophie Française et de Langue Française, 20, 98–115.
• Seyler, F. (2016). The Ethics of Affectivity and the Problem of Personhood: An Overview. Analecta-Hermeneutica, 8, 218–34.
• Steinbock, A. (1999). The Problem of Forgetfulness in Michel Henry. Continental Philosophy Review, 32, 271–302.
• Yampolskaya, A. (2018). Metamorphoses of the Subject: Kandinsky Interpreted by Michel Henry and Henri Maldiney. Avant, IX, 157–167.

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THE SEARCH FOR THE FOUNDATIONS OF THE AESTHETIC AS EXPERIENCED IN THE PHENOMENOLOGY OF V. SHAPP AND K. STAVENHAGEN

Abstract
The article evaluates the search for the foundations of the aesthetic. In comparison with some positions of analytical and receptive aesthetics, the features of the phenomenological aesthetics of two outstanding students of Husserl—Wilhelm Schapp (1884–1965) and Kurt Stavenhagen (1884–1951) are revealed. The orientation and necessity of searching for aesthetic grounds for these thinkers lies in the possibilities of deviation from the well-known principle of transcendence in the aestheticization of the world of things and the surrounding reality as a whole. For Schapp and Stavenhagen, manifestations of the phenomenological manifestation of the world of things through the experience of being are important—aesthetic. In classical aesthetics, the aesthetic is a certain level of reflection in the sensory-emotional perception of objects from the world of things. As established in the article, Schapp and Stavenhagen propose to identify the aesthetic as the experiential. At the same time, their joint position and beliefs of representatives of receptive aesthetics differ in terms of differentiating aesthetic as an experienced and aesthetic experience as such. The article presents some arguments regarding this orientation in the conceptualization of the aesthetic. The category of aesthetic, interpreted by philosophers as experimental, is revealed through the prism of the correlation of the key concepts of phenomenology—the subjective and the subjective. In this case, the aesthetic is thought of as subjective-subjective, expressed in human individual experience. It was found that Schapp and Stavenhagen, overcoming the inertia of phenomenology and philosophy of history in their theory, evaluated the historicization of the world of things in the aesthetic aspect. Thus, they search for the foundations of the aesthetic in three directions: (1) in the exposition of the subjective/subjective; (2) in the ratio of experience and “quasi-experience”; (3) in defining the boundaries of the experienced existential and experienced social. These directions have opened up the possibility of identifying the aesthetic not as a response to the attributive world of things and not as a given of its aestheticization, but rather as a condition for experiencing being as a result of individual experience. It is concluded that the search for aesthetic grounds for Schapp and Stavenhagen marked a new frontier in phenomenological aesthetics.

Keywords
Schapp, Stavenhagen, aesthetic, aesthetic experience, experiential principle, phenomenological aesthetics, existential and social.

References

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INTRODUCTION

Abstract
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Keywords
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References

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