The article is an attempt to define reduction as the beginning of philosophy. The author considers such questions as: What motivates a phenomenologist to do reduction? Can one speak of philosophy before reduction? What is the essence of reduction? To answer these questions the author refers to Husserl, Fink and, Patočka, and tries to show that reduction is to be understood as an unmotivated expression of philosopher’s will to overcome evidence inherent to natural attitude. The author argues that reduction enables (...) one a problematization of the world as such. Finally, reduction is defined as an attempt to take doing philosophy seriously. (shrink)

In this paper, I explore Husserl’s view on the normativity of intentionality and its neutralization. Husserl reaches his mature, normative-transcendental conception of intentionality by way of critical engagement with Brentano’s position. As opposed to Brentano, Husserl does not conceive of the normativity of intentionality as deriving from the more basic character of polar opposition. Normativity comes first and it is an original, though not universal determination of intentionality which is expressed in the identificatory achievement of constitution. Even where it is (...) absent, this absence makes itself felt since neutrality is never the simple omission of normativity but essentially its neutralizing modification. The discussion of neutrality-modification in Ideas I is, however, problematic, as I will argue by drawing upon Husserl’s research manuscripts. I aim to show that neutralization is not a single but a group of closely related intentional modifications and that ways of neutralization are best conceptualized as changes of attitude. I will then examine phantasy and aesthetic consciousness as involving two such neutralizing attitudes. What they have in common is a spirit of playfulness in contrast to the serious commitment to truth that characterizes original intentionality. The neutralization of normativity takes place in play. (shrink)

This paper poses a problem with respect to Husserl’s concept of evidence in The Idea of Phenomenology. In the beginning, Husserl approaches phenomenology as theory of knowledge, focuses on the essence of knowledge, and defines it in terms of evidence. In the middle, he shifts his attention to the definition of evidence as “self-givenness” but gets carried away by the search for a preferred kind of evidence, namely, the evidence of essences. In the end, he remains preoccupied with eidetic knowledge (...) and describes “evidence in the pregnant sense” as absolute, adequate, and apodictic “self-givenness”. The paper shows that these developments have serious consequences for an interpretation of The Idea of Phenomenology as a reliable introduction to Husserl’s phenomenological epistemology and important implications for the phenomenology of evidence beyond this work. (shrink)

We investigate the parallelism between aesthetic experience and the practice of phenomenology using Viktor Shklovsky’s theory of “estrangement”. In his letter to Hugo von Hofmannsthal, Husserl claims that aesthetic and phenomenological experiences are similar; in the perception of a work of art we change our attitude in order to concentrate on how the things appear to us instead of what they are. A work of art “forces us into” the aesthetic attitude in the same way as the phenomenological epoché drives (...) us into the phenomenological one. The change of attitudes is a condition of possibility of aesthetic and/or phenomenological experience. Estrangement is an artistic device that breaks the routinized forms of perception: one sees the thing as new and does not just “recognize” it automatically. Shklovsky insists that it is possible if one experiences or feels the form of the work of art—in an affective and even sensuous way. We claim that this is similar to the phenomenological seeing, or intuition, which, according to Husserl, should be devoid of all understanding. Phenomenological epoché can also be described as a philosophical technique that aims to arrest the “ready-made,” “taken for granted,” “pre-given” meanings in order to access a new meaning which is not yet stabilized, the “meaning-in-formation.” It is not enough to turn from what appears to how it appears; one has to oscillate between these conflicting attitudes, or rather to keep them both at the same time thus gaining a kind of a 3D-vision of meaning in its becoming. This double life in two different attitudes can be clarified in terms of Roman Jakobson’s theory of antinomic coexistence between the poetic and communicative functions of language. The notion of “double life in two attitudes” uncovers the role that ostranenie can play in the philosophical transformation of the subject based on variety and essential mobility of the affective components involved. Proposing a phenomenological interpretation of a passage from Samuel Beckett we show how the radicalization of ostranenie can lead even to “meta-estrangement”: to estrangement of the everyday “lack of estrangement.” We conclude with a remark on the productivity of this form of estrangement in the phenomenological context. (shrink)

In this article I consider Eugen Fink’s critique of Husserlean approach to language in phenomenology, first of all in the ‘middle’ and ‘late’ periods of Husserlean works since Ideas I. Fink was Husserl’s student and assistant and, also, he was influenced by Heidegger’s ideas. In his works he criticized insufficient attention and unworked position to language in Husserl’s works. He believed that language is very important to the whole theory of phenomenology, that we cannot carry out true phenomenological reduction without (...) clarifying what language is, how it is related to our thinking, is it possible to think without language and is it possible to carry out a complete phenomenological reduction. (shrink)