Material Phenomenology and Language (or,Pathos and Language)

Continental Philosophy Review -     

Technology,Phenomenology and the Everyday World: A Phenomenological Analysis on How Technologies Mould Our World

Technology always provides a new perception of the world. However, it is not clear when technology produces “mere” new informations and when it provides something more such as a production of new objects in our world which start to “live” around us. The aim of this paper is to study how technology shapes our surrounding world. The questions which we are going to answer are: Is it really adding new objects to our world? If yes, does every technology have this potentiality? We are going to tackle the problem using a phenomenological and post-phenomenological approach focussing our attention on the perceptual level. Using Husserl’s philosophy we will study how technology are deeply involved in our perception and, thanks to post-phenomenology and its concept of “embodiment relations,” we will be able to determine which kind of technologies have the potentiality to change our surrounding world introducing and producing new objects in it.     

梦意识现象学初探——关于想象、梦与超越论现象学

文章试图运用"双重自我"的概念,结合想象现象对一般梦现象进行现象学上的考察,并期望借助考察的结论给清明之梦一个现象学的解释。在文章的最后,还将用梦作比喻,探讨它对超越论现象学的启示。     

Equipment,World, and Language

Contrary to Eckart Förster, I argue that the Opus postumumrepresents more of an evolution than a revolution in Kant's thought. Among other points, I argue that Kant's Selbstsetzungslehre, or theory of self-positing, according to which we cannot have knowledge of the spatio-temporal world except through recognition of the changes we initiate in it by our own bodies, does not constitute a radicalization of Kant's transcendental idealism, but is a development of the realist line of argument introduced by the "Refutation of Idealism" of 1787-90; and I argue that Kant's concept of the highest good, which according to Förster was only revised to connect virtue to collective rather than individual happiness in 1790-93 and was then in any case withdrawn in the Opus postumum, was uninterruptedly focused on collective happiness from the first edition of the first Critique, and that there is no reason to believe that ever Kant retracted it.     

Mind, World and Language: McDowell and Kovesi

The ideas of John McDowell concerning the relations between mind, world and language are brought into contact with those of Julius Kovesi, with a view to seeing whether the latter can illuminate and flesh out the former. McDowell's dialectic in Mind and World is expounded and reviewed, hinging on the notion of 'conceptual second nature' as his suggested way of showing that there is nothing mysteriously non–natural in human animals learning to find their way about both in a world characterised by lawlike connections and in one characterised by rational connections. Kovesi's redrawing, in Moral Notions , of the Aristotelian material/formal metaphysical distinction as one between the logical elements of concepts, is adduced to show how the world is 'shot through' with concepts and reasons: the formal elements of concepts are nothing other than the reasons we have for collecting varied features of the material world under a concept, to meet our bodily and social needs. The mind can then be treated as a set of acquired capacities and dispositions to become conversant with these features and with the corresponding needs. Some possible objections to this bringing together of the two sets of ideas are briefly examined, and overall conclusions drawn.     

论海德格尔的知觉现象学

本文通过对海德格尔的《现象学的基本问题》一书的解读和分析,阐述了海德格尔知觉现象学的意义和特征。在这本书中,海德格尔借助对康德存在论题（“存在不是一个实在的谓词”）的现象学阐释,表明了对知觉行为进行现象学探究的必要性和可能性,并从两个层面具体阐述了他自己的知觉现象学：一方面,是对知觉行为的现象学描述,指出了知觉行为的意向性特征;另一方面,是阐明了知觉行为的存在论基础,进而突显了知觉现象在此在存在论建制中的地位和功能。     

Language Evolution Can Be Shaped by the Structure of the World

Human languages vary in many ways but also show striking cross‐linguistic universals. Why do these universals exist? Recent theoretical results demonstrate that Bayesian learners transmitting language to each other through iterated learning will converge on a distribution of languages that depends only on their prior biases about language and the quantity of data transmitted at each point; the structure of the world being communicated about plays no role (Griffiths & Kalish, 2005 , 2007 ). We revisit these findings and show that when certain assumptions about the relationship between language and the world are abandoned, learners will converge to languages that depend on the structure of the world as well as their prior biases. These theoretical results are supported with a series of experiments showing that when human learners acquire language through iterated learning, the ultimate structure of those languages is shaped by the structure of the meanings to be communicated.     

Feminist Phenomenology and the Film World of Agnès Varda

Through a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly on La Pointe Courte (1954), L'Opéra‐Mouffe (1958), The Gleaners and I (2000), and The Beaches of Agnes (2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential‐phenomenological approach to her films particularly fruitful. Drawing both directly on the work of Maurice Merleau‐Ponty and on some recent film‐ and feminist‐theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy in The Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film‐texts.