Volume 68 (2013), 9

The paper offers an interpretation of the canon background of one of the classical Chinese ink paintings. Besides some technical details, it exposes a number of important philosophical connections significant for the elucidation of the ontological status of artistic subjectivity as such. On the example of a reproduction of one of Chinese paintings (Fan Kchuan)… Čítať ďalej

The author’s focus is on the comparison of two phenomenologist, one of them being the founding father of phenomenology, the another a French phenomenologist of the second generation. The key issue of the comparison is the constitution of the cultural world implying the confrontation with human sciences. This is something tried already by Husserl, who was… Čítať ďalej

First, the author argues that narration embodies the relationships of similarity (mimesis), namely between narration and lived time, between narration and the plot and between narration and the time of reading. Then he applies this structure to the history and historiography, which is more and more remote from narration. After a close analysis of the writings of… Čítať ďalej

The paper deals with Ricœur’s conception of forgiveness as related to guilt, which he articulated mainly in his Memory, history, forgetting. Forgiveness is paradoxical in itself: while related to something shameful, unjustifiable that one can not forget, it also, according to Ricœur, gives one an opportunity to forgive. We forgive regardless of our feeling of… Čítať ďalej

In the paper the anticipation of the transcendental function of art and artistic production in the phenomenological system of Edmund Husserl is under scrutiny. Despite the strong links between art and Husserl’s phenomenology, Husserl himself never explicitly considered art as having philosophical significance for his system. Thus I start by describing the way in… Čítať ďalej