Jan Patocka

Phenomenology and ancient Greek philosophy. The title of this book, indicating these topics as its two main subjects, could give the impression that the subjects are held together by a circumstantial “and.” The title would then indicate a connection between phenomenology and a topic, ancient Greek philosophy, the way titles such as Art and Phenomenology, Phenomenology and Psychological Research, Phenomenology and Virtue Ethics do. This impression would be wrong. First, ancient Greek philosophers take pride of place in the dialogues initiated (...) by many phenomenologists with various figures from the history of philosophy. Second, this is not just because phenomenological philosophers have tended to regard ancient Greek philosophy as the revered beginning of Western thought, reflection upon which may help illuminate any topic modern human beings wish to inquire into or give it a kind of historical dignity. It is first and foremost because ancient Greek philosophy, understood as the scientific attempt to understand the world, ourselves, and our place in the world, in the phenomenological tradition is regarded as one important origin of contemporary Western philosophy and science, even if contemporary philosophy and science is also determined by a new ideal of philosophy that emerges in early modernity. Indeed, for most phenomenologists, Greek philosophy can be regarded as the roots supporting this new ideal—even if these roots are sometimes hidden from sight or forgotten. The main rationale for confronting ancient Greek philosophy phenomenologically is accordingly the attempt to bring to light in its full radicality the phenomenon “philosophy.” Unearthing philosophy as it was originally understood by Greek thinkers may, according to many phenomenologists at least, help us understand what philosophy in the full sense of the word was, has been, and may be again, but also what it has become or even degenerated into in modern times, for instance positivism. It is this way of approaching ancient Greek philosophy that we wish to concentrate on in this book, in the hope that the volume will prove instructive both to people who have an interest in ancient Greek philosophy and wish to know more about the phenomenological approach to it and to people who work within phenomenology and wish to know more about the various approaches to ancient Greek philosophy characterizing the phenomenological movement. We have therefore sought to make the introduction and the individual chapters accessible to non-experts, for instance by transliterating all Greek text, and confining quotes in other languages than English to footnotes and glosses. (shrink)

The language of phenomenology includes terms such as intentionality, phenom- enon, insight, analysis, sense, not to mention the key term of Edmund Husserl’s manifesto, “the things themselves” to return to . But what does the “things them- selves” properly mean? How come the term is replaced by the “findings” over time? And what are the findings for? The investigation begins by looking at the tricky legacy of the modern turn, trying to clarify ties to past masters, including Francis- co Suárez (...) and Augustine of Hippo . The former, because his influence goes beyond René Descartes reaching undoubtedly Franz Brentano and his students, as well as Martin Heidegger . The latter, because Augustine gives a personal component to the Greek inheritance, marked by the “inward turn .” However, it would not be possible to review the history of thought without the help offered by Jan Patočka's analyses . Patočka discloses the “care” of the Greek philosophers, Plato and Dem- ocritus among others, “for the soul”, we would say with Patočka for “being,” whose sense “does not leave us indifferent” as the leitmotiv of Ancient Philosophy . Nev- ertheless, in his lectures on Plato and Europe, Patočka points out that you must be careful not to confuse the phenomena of things, of existens, with the phenomena of being . Finally, Patočka’s legacy is found in the efforts to reconcile the life-feeling with the modern construction of reality, which means “a radical reconstruction of the naive and natural world of common sense .” In some ways, intentionality is to be revised . (shrink)

Esta contribución presenta como el concepto filosófico de “donación” es reinterpretado en la reflexión de Patočka. Partiendo de la lección husserliana, gracias a la cual las cosas son dadas en la pura inmanencia de la consciencia, él critica esta orientación “subjetivista” porque no desarrolla adecuadamente el tema del aparecer en el campo fenomenal. La segunda sección analiza tres desplazamientos metódicos que abarcan: el rol del sujeto, su relación con la trascendencia, el darse a sí mismo del mundo en su totalidad. (...) La tercera sección compara la reflexión de Patočka con dos referencias cruzadas a algunos intentos similares en la historia de la fenomenología. El tema de “la donación”, por tanto, nos traslada al mayor problema con el que ha trabajado siempre la filosofía: la manifestación del mundo. Patočka intentó esclarecer este problema mediante dos metáforas (el espejo y la pintura), pero también subrayó cómo concierne el modo en el que el hombre interpreta la propia existencia. (shrink)

The paper shows different approaches to creativity, i.e. emergence of new meanings, in Merleau-Ponty and Patočka. The comparison is based mainly on Merleau-Ponty’s lectures L’institution dans l’histoire personnelle et publique (1954/55) and Patočka’s project Negative Platonism (1953). Despite some similarities evident in the key concepts “institution” and “transcendence”, there is a decisive difference between the two approaches concerning the temporality of creation. Whereas Merleau-Ponty likens the temporality of institution to future perfect tense, emphasizing the intertwining of present and future events, (...) Patočka understands novelty as something totally different from the present state of affairs. In his eyes, the question of how something new can arise equals the question of how an attitude of distance to existing traditions can be achieved. Contrary to Patočka, Merleau-Ponty argues that any living tradition tends towards its own transformation and presents a case of self-transcendence because it is governed by the principle of divergence (écart). Finally, we argue that some aspects of these two approaches both complement each other, and also show the limits of each other. (shrink)

In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočka’s conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay I seek (...) to show the consequences Patočka’s conception has for the history of art. In the rst part, I set out to show Patocka’s critique of Hegel’s aesthetics as a system based on the correspondence theory of truth. In particular, I endeavour to explain his critique of some intrinsic problems of Hegel’s aesthetics, the general failure of Hegel’s system to achieve its goal, and, lastly, Hegel’s giving up on the meaning of the art in the present. I also seek to show that Danto’s version runs into the same problems and conclusions as Hegel’s. In the second part I discuss Patočka’s analysis of modern art and the aesthetic attitude, where he nds a hidden a nity between art and aletheia, which Hegel overlooked. e last part of the essay focuses on the consequences that the conception of the truth of art as aletheia have for the history of art. I conclude that art in such a conception represents an independent eld of the manifestation of being in history beside philosophy. Moreover, modern and contemporary art do not mean the end of art; rather, they have their place in art history based on aletheia, since they are more focused on the manifestation itself than on what is manifested. Unlike Hegel and Danto, therefore, Patočka retains the historical meaning of modern and contemporary art. His conception of the history of art, summed up under the idea of aletheia, has greater explanatory potential than Hegel’s and Danto’s conceptions, and it retains the historical meaning of modern and contemporary art. (shrink)

The aim of this article is to show how both Jan Patočka and Jürgen Habermas, starting from a reinterpretation of the idea of «lifeworld», engaged a critique of modern civilisation, aiming (with different outcomes) at a redefinition of the concept of political community. In order to achieve this goal, I firstly focus on Patočka’s understanding of modern rational civilisation and its attempt to fix the fracture between «life» and «world». At this stage, I take also advantage of Hans Blumenberg’s distinction (...) between these two terms, in order to better clarify Patočka’s stance on this problem. Secondly, I analyse Habermas’ ideas of lifeworld and system, and their uncoupling in modern societies, as well as the reemergence of this issue in Habermas’ recent works on the European economic and political crisis. Finally, I focus on the very different ways in which Patočka and Habermas tackled the ideas of conflict and crisis in contemporary world, also in view of a possible path out of this crisis through a re-constitution of Europe. (shrink)

[In French]Both Patočka and Merleau-Ponty conceive the world not just as an Object, but rather as a field of an irreducible phenomenal and ontological depth. Patočka’s concept of movement and Merleau-Ponty’s concept of flesh are two concrete figures of this depth, and as such they are understood by the respective authors as that what stands at the origin of every singular being so far as it detaches itself on the ground of the world as an open totality. Nevertheless, the position (...) of the two concepts seems to be quite different in relation to the traditional categories of the metaphysics. We argue that Patočka’s concept of movement is profoundly rooted in, and dependent on, the classical oppositions, whereas Merleau-Ponty’s flesh makes it possible to understand them rather as abstractions produced by segregation from the original field of presence. In order to establish these points, we propose an interpretation of Patočka’s and Merleau-Ponty’s understanding of the concepts of horizon and world, and of course of those of movement and flesh. [In French.]. (shrink)