The life-world is a central topic of Husserl’s phenomenology. He addresses this issue in some of the works published during his lifetime and attempts to analyze the life-world extensively in many of his works and posthumously published research manuscripts. The life-world is one of the topics that have been discussed most extensively in phenomenology. However, there are many misunderstandings of Husserl’s phenomenology of the life-world. One misunderstanding concerns the variety of concepts of the life-world in Husserl and the possibility of (...) developing various fields of the phenomenology of the life-world. It is the aim of this paper to show that Husserl has a pluralistic concept of the life-world, which makes it possible to develop various fields of the phenomenology of the life-world. I will introduce the monistic view and the pluralistic view of the concept of the life-world in Husserl and will clarify what the life-world is, thereby showing that the monistic view of the concept of the life-world in Husserl is not legitimate. However, even though Husserl has a pluralistic concept of the life-world, nowhere does he systematically clarify the various concepts of the life-world. Hence I will sort out and clarify various concepts of the life-world such as the narrower concept and the wider concept, the general concept and the particular concept, the natural concept and the transcendental concept, and the empirical concept and the eidetic concept. Based on the discussion of the various concepts of the life-world in Husserl, I will assess the monistic view and the pluralistic view of Husserl’s concept of the life-world so that we can better understand his various concepts of the life-world. (shrink)

The central theme of my dissertation is Husserl’s phenomenological analysis of how we experience images. The aim of my dissertation is twofold: 1) to offer a contribution to the understanding of Husserl’s theory of image consciousness, aesthetic consciousness and art, and 2) to find out whether Husserl’s theory of the experience of images is applicable to modern and contemporary art, particularly to strongly site-specific art, unaided ready-mades, and contemporary films and theatre plays in which actors play themselves. Husserl’s commentators and (...) followers interested in his theory of the experience of images have mostly focused on the concept of “phantasy” [Phantasie] or “imagination.” Accordingly, the main interest is in the notion of the “image object” [Bildobjekt] and in the question of how something absent can appear in an image. In my dissertation, the central concept is “image consciousness” [Bildbewusstsein] which is a unique kind of experience: it involves both perception and imaging. I want to show that Husserl’s early theory of depictive image consciousness and his later theory of the experience of images can both be subsumed under the term “image consciousness”. I want to point out that Husserl’s revision of his earlier theory of image consciousness results in the distinction between depictive and non-depictive image consciousness, and that revision did not amount to an abandoning of the theory of “image consciousness.” In addition, Husserl divides depictive consciousness into positing and non-positing depictive consciousness. In my dissertation, I take the theory of image consciousness as the basis for explaining the experience of images, including the experience of visual works of art. In Husserl’s definition of art: “Without an image, there is no fine art”. The theory of image consciousness also plays an important role in explaining aesthetic consciousness since the focus is on “the How of the image object’s depicting”. My aim is to accentuate the subject in image consciousness, rather than the image object. I want to show that whether the subject is involved in image consciousness or not makes the difference if we have a two-fold or three-fold experience of seeing-in. In this way, I can also compare Husserl and Wollheim’s theories of seeing-in: a comparison that has received minimal attention in the literature of pictorial experience until now. In addition, I aim to show that according to Husserl’s theory, the image subject is involved only in depictive image consciousness. Moreover, I try to show that it is more difficult to define the image subject than the image object for the subject cannot be equated with the referent. Lastly, I will point out that Husserl mentions the possibility that it is the appearance of the subject rather than the image object appearance that we are focused on in aesthetic consciousness. Another topic that has received minimal attention until now is Husserl’s idea that depiction is involved in the experience of theatrical performance. The latter is primarily used by Husserl as an example of non-depictive image consciousness. I will examine how depiction can be involved in the experience of a theatre play in the case of actors playing themselves onstage. I will show that, in light of this example, either Husserl’s theory of depiction need to be revised or we cannot say that depiction is involved when an actor plays a real life person. Again, the key issue is how the subject appears. Thus, I will try to apply Husserl’s theory of depiction in explaining our experience of theatrical performances. I will also try to use his theory of aesthetic consciousness in describing the experience of strongly site-specific art and point out what the difficulties are of using the idea of the limited synthetic unity of the aesthetic object in the case of strongly site-specific art which seems to have no prescribed margins that could correspond to the limitedness. In addition, I will show how Husserl’s phenomenology, especially the notion of horizon, can be used to define visual art. I will defend the view that an object of art can be defined as art through an external co-determining horizon – the artworld. My dissertation is divided into four parts. In the first part, I give an overview of the development of Husserl’s philosophy from the period 1989 – 1920s with a special focus on the development of the theory of image consciousness. In that part, I introduce the notions of depictive and non-depictive image consciousness. In the second part, special focus is on the depictive image consciousness or the theory of depiction. I will first explain the phenomenological approach to the experience of images and what the difference and similarities are between Husserl and Wollheim’s theory of seeing-in. Then I give more detailed description of the three objects or objectivities in image consciousness with the emphases on the image subject. Also, how the objects are related to each other: the necessary conflicts and a resemblance in image consciousness. Lastly, I will analyse Husserl’s claim that depiction might be involved in the experience of theatrical performances and I will show what the difficulties are of applying this idea in the case of a theatre play in which actors play themselves. In the third part, I examine Husserl’s theory of aesthetic consciousness. I will first point out how the notion of “aesthetic object” is equated with that of “work of art” by Husserl. Then I will show the similarities between the aesthetic attitude and phenomenological attitude in general, and how aesthetic consciousness differs from image consciousness according to Husserl. In this vein, I will point out the difficulty of defining whether, following Husserl’s texts, we are directed to image object appearance or the appearance of the image subject in aesthetic consciousness. Lastly, I will analyse Husserl’s idea of the limited synthetic unity of the aesthetic object and whether this theory holds in the case of the experience of strongly site-specific art. In the fourth part, I will give an overview of Husserl’s notes on art and his attempt to define art. The question whether every visual work of art must be an image is also addressed. The fourth part is divided into two sections. Firstly, I will show how some of Husserl’s commentators analyse artworks as analogues to or illustrations for Husserl’s phenomenology: how some works of art are doing phenomenology. Secondly, how Husserl’s phenomenology can be used to analyse our experience of artworks. In this section, I will examine Husserl’s claim that all works of visual art are images. Also, I will show how Husserl’s notion of the external co-determining horizon can be used to define art. Some material used in my dissertation has been published in the following journals: Proceedings of the European Society for Aesthetics, South African Journal of Philosophy, 2013), Kunstiteaduslikke Uurimusi, 2014), Postgraduate Journal of Aesthetics Spring 2014). (shrink)

In his writings Alfred Schutz identifies an artificiality in the concept of life-world produced by Edmund Husserl's method of reduction. As an alternative, he proposes to assume intersubjectivity as a given of everyday life. This eradicates Husserl's distinction between life-world and natural attitude. The subsequent phenomenological project appears to center upon sociological descriptions of the structures of the life-world rather than on a search for apodictic truth. Schutz, however, actually retains Husserl's emphasis on the subject. A tension then arises between (...) the assumption of intersubjectivity and individual experience. Rather than clarifying the concept of intersubjectivity, this further problematizes it. Drawing upon Max Weber's work, Schutz responds by developing a rigorous methodology for studying the social world. But having rejected Husserl's reduction and conflated life-world and natural attitude, Schutz's analysis moves at the level of daily life itself. Consequently, the explanatory categories he proposes appear as abstractions rather than as a way of describing lived experience. Schutz, it is concluded, initiates a scientistic sociology in which the commonsense structures of the natural attitude of everyday life are subverted and replaced by the more rigorous knowledge of the scientific attitude. Schutz's version of phenomenology is ultimately untrue to the spirit of Husserl's original project; and deploying his work as a clear-cut alternative to scientistic tendencies within sociology is not as straightforward as it might at first seem. (shrink)

Generally, there are two interpretative approaches to quantum theory: psi-ontic and psi-epistemic. According to the psi-ontic interpretations, quantum theory does/should describe or represent what...

The paper is focused on Genesis 1 – 3 where the primordial man [adàm] is created ‎and he was given the proper name Adam [adàm]. ‎ In Hebrew man and Adam are the same word, spelled the same way – [adàm]. ‎Different translations of Genesis 1-3 use for the first time the proper name Adam in ‎different places versions Gen 2:25; The German Luther ‎Bible Gen 3:8; Some English Protestant versions Gen 3:17; Bulgarian Protestant and many ‎English Protestant versions Gen (...) 3:20-21). The paper decodes the phenomenon by ‎studying the Hebrew original and several semiotic views on common and proper names ‎‎. Through these opinions the ‎important question “Who wrote the Bible?” is discussed. The analysis interfaces the new ‎linguistic relativity theory.‎ Four layers of symbolism are decoded: 1. The man became Adam; 2. The two men in ‎Gen 1:27 and in Gen 2:7 man [adàm] ‎is made by earth, ground [adamà]; 3. The two men in the New Testament ; 4. Edom, Adam and cultural discourses in both Testaments.‎. (shrink)

The notions 'worldview' and 'social identity' are examined to consider whether they contribute substantively to causal sequences or networks or thought clusters that result in group acts executed intentionally. ... Three proposed explanaitons of sectarian conflict or ethnic violence are analysed as examples of theories that causally link intenitonal group behaivour to the worldviews and social identities of the individual agents directly involved. But as will be shown, it is not a priori features of worldivews and identities as such, but (...) historically specific facts and contingent circumstances that need to be examined in order to explain group-motivated behaviour. Reference to worldviews and identities detract from adequate explanation. (shrink)

Abstract Not much scholarly work is needed in order to stumble across many passages where Edmund Husserl seems to advocate an anti-realist attitude towards the natural sciences. This tendency, however, is not well-received within the secondary literature. While some commentators criticize Husserl for his alleged scientific anti-realism, others argue that Husserl's position is much more realist than the first impression indicates. It is against this background that I want to argue for the following theses: a) The basic outlook of Husserl's (...) epistemology as well as his more substantial comments regarding the natural sciences indeed result in a (sophisticated version of) scientific anti-realism which bears certain resemblances to Bas van Fraassen's constructive empiricism; b) This scientific anti-realism can be defended against the two most common objections raised in the secondary literature; c) It is only by means of this sophisticated version of scientific anti-realism that phenomenology can circumvent the problem of ?scientific objectivism? (shrink)

This paper applies a hybrid Heideggerian-ethnomethodological approach to physiotherapy practice. Unlike previous studies written by and for practitioners, this paper uses my personal experience receiving physical therapy as its point of departure. By combining Heidegger’s [Being and time (trans: Stambaugh J). State University of New York Press, New York 1996] notion of the ‘ontological difference’ with Garfinkel’s (Studies in ethnomethodology, Prentice-Hall, Englewood Cliffs 1967) concept of ‘accountability,’ I argue that in physical therapy practice, both client and practitioner actively shape the (...) body into a coherent object for medical intervention. I begin by introducing three key phenomenological concepts, the life-world, the ontological difference, and Heidegger’s critique of subjectivity. I then empirically substantiate these concepts by reviewing classic and recent studies in ethnomethodology. I conclude with my own experience of physical therapy, and demonstrate how both client and practitioner actively constitute the body as a medical and therapeutic object. This is cause for both disability studies and physiotherapy to reconsider some of their core concepts, ‘medicalization’ and ‘client-specific measurement,’ respectively. (shrink)

This paper discusses the relation between the later Husserl and the later Heidegger regarding their criticisms of modern science and technology. It is suggested that the overlap between both accounts is more significant than is standardly acknowledged. The paper first explores Heidegger’s ideas about the ‘essences’ of science and technology, how they allegedly determine the contemporary worldview, conceal our relation to being, and how Heidegger warrants his critical attitude toward this. It then discusses Husserl’s philosophical–historical assessment of the ‘idea’ of (...) modern science, which Husserl believed resulted in the decapitation of philosophical questioning. Although key differences in method, aims, and their proposed solution to the dominance of the technological-scientific worldview should not be overlooked, the paper suggests that core aspects of Heidegger’s analyses can be traced back to Husserl. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetoric, Narrative, and the Lifeworld: The Construction of Collective IdentityAlan G. GrossAt the beginning of King Lear, at the point of ceding his throne to his three daughters, Lear asks each for a public acknowledgment of her love. Goneril and Regan flatter their father with effusive declarations, but Lear’s youngest, and his favorite, Cordelia, refuses to do so:I love your Majesty According to my bond; no more or less...................... (...) Good my lord, You have begot me, bred me, lov’d me; I Return those duties back as are right fit, Obey you, love you, and most honour you. Why have my sisters husbands, if they say They love you all? Haply, when I shall wed, That lord whose hand must take my plight shall carry Half my love with him, half my care and duty. Sure I shall never marry like my sisters, To love my father all.(1936, 1.1.94–107) [End Page 118]Furious, Lear disinherits his daughter.Cordelia’s speech is remarkable only in its articulation of what Lear should have known; its dramatic impact is a consequence of Lear’s reaction to his daughter’s argument for divided loyalty that is based on a string of commonplaces that are part of the lifeworld that Lear and his daughter—and every other person in the play—inhabit. Any part of this lifeworld may be thematized, of course; it may be brought out into the open as a topic of discussion. That is what Cordelia does; under duress, she shifts from what Jürgen Habermas calls communicative action to a level he calls discourse, a level that reveals the relationship between the personal and the social as well as their underlying cultural presuppositions. Because Lear refuses to grasp the obvious, the narrative progress of the play is temporarily interrupted and permanently veers off course. Although on occasion we can thematize aspects of our lifeworld, the lifeworld as a whole cannot be subject to scrutiny; it is the totality of certainties, skills, practices, and interpretative frames that we take for granted as we each find our way in the everyday worlds that form the changing horizons of our experience. I take it for granted that too many cooks spoil the broth; telephoning is a skill I do not puzzle over; waiting patiently in line is a social behavior I practice without thinking; with no special effort, I interpret the intimacy of a couple’s relationship by the way they publicly behave toward each other.The lifeworld, a concept initiated by Edmund Husserl and elaborated by Alfred Schütz, Martin Heidegger, and Jürgen Habermas, has been largely neglected by rhetorical theorists and critics. It is the purpose of this paper to show that remedying this neglect opens up fruitful avenues of critical practice and theory. I proceed, first, by defining the lifeworld. Next, I shift perspectives: I analyze how collectivities make sense of their lives by telling stories about themselves grounded in their lifeworld values. It is in the lifeworld’s role in storytelling that, I claim, Aristotle’s Rhetoric becomes an important part of the picture. This is because the Rhetoric is, at bottom, a theory of the way lifeworld values enter into the public sphere. This characterization of the Rhetoric permits us to reconcile two important instantiations of the lifeworld, Habermas’s and Aristotle’s, a reconciliation in which communicative action becomes a special case of rhetorical interaction. Finally, from the perspective of the lifeworld, I reflect on the significance of an exemplary case of the construction of collective identity, the Selma march. [End Page 119]Defining the LifeworldEdmund Husserl’s The Crisis of the European Sciences contains the first explicit philosophical analysis of the lifeworld as “the world that is constantly pregiven, valid constantly and in advance as existing.... Every end presupposes it; even the universal end of knowing it in scientific truth presupposes it, and in advance” (1970, 382). Because the lifeworld is presupposed in everyday communication, it can be entered only by disciplined reflection: “Contemplation is privileged to the extent that it reveals the structures of the world and has them as theme” (1973, 65). Although the lifeworld... (shrink)

Husserl thinks of philosophy as a general, fundamental and apodictic science of world. He set out to found transcendental phenomenology as general philosophy or apodictic science, but he ought to explain the possibility of objective knowledge of world as to reach to this point. Concerning about crisis in modern western culture, Crisis projects his view of philosophy and of duty of philosopher in context of a critics of modern philosophy and science concerns about crisis in modern western culture. So he (...) introduces the original concept life-world that is a novel idea for the philosophy as general science. The paper is to consider the Husserl's point of view on relation between philosophy and crisis of modern culture and to review the question if life-world can introduce Husserl's transcendental phenomenology as a fundamental philosophy and general science. We consider the problem of possibility of objectivity of world, a problem that proposed in late philosophy of Husserl in more extensive and innovative form. (shrink)

Don Ihde has recently launched a sweeping attack against Husserl’s late philosophy of science. Ihde takes particular exception to Husserl’s portrayal of Galileo and to the results Husserl draws from his understanding of Galilean science. Ihde’s main point is that Husserl paints an overly intellectualistic picture of the “father of modern science”, neglecting Galileo’s engagement with scientific instruments such as, most notably, the telescope. According to Ihde, this omission is not merely a historiographical shortcoming. On Ihde’s view, it is only (...) on the basis of a distorted picture of Galileo that Husserl can “create“ the division between Lifeworld and the “world of science“, a division that is indeed fundamental for Husserl’s overall position. Hence, if successful, Ihde’s argument effectively undermines Husserl’s late philosophy of science. The aim of this paper is to show that Ihde’s criticism does not stand up to closer historical or philosophical scrutiny. (shrink)

For Husserl, the _homeworld_ is the tacit, taken-for-granted sphere of experiences, understanding, and situations marking out a world that is comfortable, usual, and “the way things are and should be.” Always, according to Husserl, the homeworld is in some mode of lived mutuality with an _alienworld_—a world as seen as a realm of difference, atypicality, and otherness. In this article, I draw on British-African novelist Doris Lessing’s 1969 novel, _The Four-Gated City_, to consider the shifting homeworld of protagonist Martha Quest, (...) a young white African woman emigrating to battle-scarred London immediately after World War II. Throughout the novel, Quest finds herself in unfamiliar or challenging situations where the world she takes for granted is called into question. Lessing draws on these life-testing experiences to portray Quest’s shifting understandings of other individuals’ homeworlds that at first she sees as atypical, abnormal, or unreal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetoric, Narrative, and the Lifeworld: The Construction of Collective IdentityAlan G. GrossAt the beginning of King Lear, at the point of ceding his throne to his three daughters, Lear asks each for a public acknowledgment of her love. Goneril and Regan flatter their father with effusive declarations, but Lear’s youngest, and his favorite, Cordelia, refuses to do so:I love your Majesty According to my bond; no more or less...................... (...) Good my lord, You have begot me, bred me, lov’d me; I Return those duties back as are right fit, Obey you, love you, and most honour you. Why have my sisters husbands, if they say They love you all? Haply, when I shall wed, That lord whose hand must take my plight shall carry Half my love with him, half my care and duty. Sure I shall never marry like my sisters, To love my father all.(1936, 1.1.94–107) [End Page 118]Furious, Lear disinherits his daughter.Cordelia’s speech is remarkable only in its articulation of what Lear should have known; its dramatic impact is a consequence of Lear’s reaction to his daughter’s argument for divided loyalty that is based on a string of commonplaces that are part of the lifeworld that Lear and his daughter—and every other person in the play—inhabit. Any part of this lifeworld may be thematized, of course; it may be brought out into the open as a topic of discussion. That is what Cordelia does; under duress, she shifts from what Jürgen Habermas calls communicative action to a level he calls discourse, a level that reveals the relationship between the personal and the social as well as their underlying cultural presuppositions. Because Lear refuses to grasp the obvious, the narrative progress of the play is temporarily interrupted and permanently veers off course. Although on occasion we can thematize aspects of our lifeworld, the lifeworld as a whole cannot be subject to scrutiny; it is the totality of certainties, skills, practices, and interpretative frames that we take for granted as we each find our way in the everyday worlds that form the changing horizons of our experience. I take it for granted that too many cooks spoil the broth; telephoning is a skill I do not puzzle over; waiting patiently in line is a social behavior I practice without thinking; with no special effort, I interpret the intimacy of a couple’s relationship by the way they publicly behave toward each other.The lifeworld, a concept initiated by Edmund Husserl and elaborated by Alfred Schütz, Martin Heidegger, and Jürgen Habermas, has been largely neglected by rhetorical theorists and critics. It is the purpose of this paper to show that remedying this neglect opens up fruitful avenues of critical practice and theory. I proceed, first, by defining the lifeworld. Next, I shift perspectives: I analyze how collectivities make sense of their lives by telling stories about themselves grounded in their lifeworld values. It is in the lifeworld’s role in storytelling that, I claim, Aristotle’s Rhetoric becomes an important part of the picture. This is because the Rhetoric is, at bottom, a theory of the way lifeworld values enter into the public sphere. This characterization of the Rhetoric permits us to reconcile two important instantiations of the lifeworld, Habermas’s and Aristotle’s, a reconciliation in which communicative action becomes a special case of rhetorical interaction. Finally, from the perspective of the lifeworld, I reflect on the significance of an exemplary case of the construction of collective identity, the Selma march. [End Page 119]Defining the LifeworldEdmund Husserl’s The Crisis of the European Sciences contains the first explicit philosophical analysis of the lifeworld as “the world that is constantly pregiven, valid constantly and in advance as existing.... Every end presupposes it; even the universal end of knowing it in scientific truth presupposes it, and in advance” (1970, 382). Because the lifeworld is presupposed in everyday communication, it can be entered only by disciplined reflection: “Contemplation is privileged to the extent that it reveals the structures of the world and has them as theme” (1973, 65). Although the lifeworld... (shrink)