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The purpose of this study was to determine prospective science teachers’ perceptions towards physics, chemistry and biology experiments through metaphors. 68 prospective (sophomore) science teachers studying at the Department of Science Education participated in this study. Phenomenology design was used in this qualitative research. Prospective teachers were asked to complete the following sentences: “Physics experiments are like ……………………., because…………………”, “Chemistry experiments are like ……………………., because…………………”, “Biology experiments are like ……………………., because…………………”. The data obtained from participants were analyzed through following steps, i.e. (1) naming, (2) classification, (3) category development, (4) reliability and validity, and (5) data transfer to computer. Metaphors that were expressed by prospective science teachers were evaluated as either positive or negative. As a result of this study, it was determined that prospective science teachers’ perceptions towards physics, chemistry and biology experiments were positive.
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Problem of recognition (Anerkennung) in historical context of the unity of knowledge and action, was first systematic and explicitly tematized by Hegel. Due to his indication the best way to approach this concept is the phenomenological method. The exposition of the structure of consciousness shows that it is a living force that is in motion in relation to nature. The subject at the very beginning of the process of recognition is pure self-interest, self-will, but soon it turns out that it cannot survive as such, because it changes itself when encountered with other self-consciousness. The struggle for recognition begins when two self-consciousnesses demand not only an object but a right to the object. In such a struggle we witness an asymmetrical recognition which in effect turns within the historical process of acquiring freedom. In fine, the significance of the phenomenological method is explored in the context of contemporary considerations of recognition which are examined not only by the past and present considerations, but also by the question of self-projections of the subject in the world.
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In this paper I will investigate phenomenological aesthetics of Michel Henry, and his interpretation of abstract painting. Henry's focus is the work of W. Kandinsky, for which the French phenomenologist believes that it presents us with extraordinary example of abstract painting, which shows that all art essentially is of abstract character. Analysis will compare Kandinsky’s ideas with those of Henry, and will be particularly focused on the relationship between interior and exterior, on the question of the relation of content and means of painting, and on the problem of colour and sensual qualities. Results of the analysis will show the domain of the encounter and the possible outcome of phenomenological interpretation of Kandinsky's painting.
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As part of ceremony of the anniversary of the Faculty of Philosophy in Novi Sad, on December 8th 2016, The Philosophy Department had the honor to host Professor Rudolf Bernet, Professor Emeritus of the Institute of Philosophy and long-term director of the Husserl Archives in Leuven. He held a lecture entitled Crisis in Modern and Contemporary Science. The lecture was dedicated to the eightieth anniversary of the first publication of Husserl's book Crisis of European Sciences and Transcendental Philosophy. First two parts of the book were published in Belgrade in the journal Philosophia, edited by Professor Arthur Liebert. The lecture was held in English, after which colleagues had the opportunity to talk with the Professor. Furthermore we present main parts of the lecture and some of the discussions.
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Point of departure of this article is presentation of the basis of Gasset’s philosophical position as the problem of the crisis will be considered on such foundation where the crisis is understood as the loss of the horizon in which I (Yo) am lost in the circumstances (circunstancia). The second part of this paper will consider in which way Patočka's philosophical position is related to the problem of crisis through comparison of rational-vitalism and a-subjective phenomenology. The crisis is being considered through a loss of absolute meaning as contemporary philosophy shows that a subject cannot have one. This means that the meaning must be created from new circumstances. The task of philosophy is to show the role of history of philosophy which cannot be ignored. As such, that caring for the soul must be priority and it’s distinguished from naive acceptance of meaning.
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The aim of the article is establishing the link between philosophical problematization and the way of life of the man. This connection is becoming apparent in particular in Edmund Husserl’s analyses concerning issues of the crisis. Philosophical problematization is a kind of the new attitude and has its beginning in the appearance of the Greek philosophy. Conducting philosophical problematization, the man is gaining the real image of the world, of oneself; what is more, the man is attaining to a higher level of the humanity. The highest level of the humanity means in the light of the Husserlian phenomenology that the man is discovering in himself transcendental „I”.
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The paper is focused on the research on the Altai sacral centers in the context of phenomenology of the sacrality and special aspects of the cultural landscapes of the Altai region. The relevance of the study stems from the discursive gap between the theory on the sacrality phenomenon and practical empiric studies on the specific sacral objects. In light of this, this paper is aimed at the substantiation of the heuristic and the axiological meaning of the concept of the sacral center through cultural and philosophical analysis and explication of the structure of this concept. The methodological basis of the research comprises the semiotic theory, the theory of historical and cultural zones (HCZ), the chronotope and topochrone theories, that enable us to define the criteria and the boundaries of the “sacral center” phenomenon. Implementation of the structural method and the method of semantic analysis provides an opportunity to explicate the semantic code of the study subject and the ways of its functioning, both in the ancient times and in the modern sociocultural space.
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The fundamental idea is that the Western culture started with Apollo (know thyself), in order for it to be succeeded by Prometheus and Narcissus as an illegitimate child of Prometheus, so “know thyself” turned into “look at thyself”. Levinas, who looks at the whole Western philosophy as egology with the primacy of thinking, takes a different path and offers, after Apollo, Prometheus and Narcissus, a new “face” as the path of the West – the good Samaritan, giving ethics the primacy over ontology and gnoseology. Thus, by putting justice before freedom (and autonomy), he says: “The Samaritan did not become our neighbor because he comprehended, he comprehended because he became our neighbor.” But as man loses history and concedes it to technology which becomes auto-generating (posthuman society), Levinas’ paradigm “ethics, and not ontology, as filosofia prima” becomes more current than ever.
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The aim of the research; to evaluate the paradigm phenomenon within the framework of the philosophy of science and to follow the parallel development line in the field of art and to analyze it through the films that put it in the focus of contemporary art. In this scope, The Square (2017) directed by Ruben Östlund and Manifesto (2015) directed by Julian Rosefeldt are analyzed in terms of the paradigm shifts. In this direction; issues such as the privatization of culture, the intervention of museums and galleries to art, the changing of the essential language of art and manipulating by press and advertising, acceptance of the manipulation by the artist, leaving the place of academic art to the contemporary, the evolving of modern art to the absurd, capitalism is criticized on the one hand, on the other hand its use by both the artist and the gallery are important points.
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The study phenomenon is a phenomenon that has changed due to societal structures and various other external factors since the existence of societies. The ways in which societies live are just one of the reasons for change in this phenomenon. Individuals from the past to the present, according to the needs of the societies in which they live in order to meet their needs, they have been in the working life in changing conditions. On the other hand, the development of technology and the change in production concept has changed the position of the labor force in the working life. In the study, firstly conceptual information was given about the work, labor and work phenomena and then the transformations in the working life were taken into consideration considering the social structures. The Industrial Revolution which is one of the pioneers of change and the transformations in the working life are examined.
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Marc Richir’s phenomenological work proposes a new type of phenomenology, a non-standard one. To him, a non-standard phenomenology is, first of all, a phenomenology that is “crossing the barrier of intentionality” (Richir, 2015). In this context, perception has a special role. Firstly, it involves phantasia, and not the imaginary. Secondly, it is a perception of non-intentional objects. Because of these two reasons, the other becomes the Other, namely a non-intentional object that cannot be pinpointed in a definite time / space frame. In this paper, I will try to demonstrate that, starting from this lack of conceptualization that the Other represents, a sense is constructed. It is a sense in the making (sens se faisant), as Richir puts it (Richir 1988, 2015); a sense whose never-ending development gives meaning to someone’s life. In order for this to take place, the effective presence of the Other is crucial. Otherwise, sense stands still and meaning is aborted.
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Michel Henry questions the opposition body - flesh as indebted to the opposition between what appears / the appearing, under the light of what he calls "The reversal of phenomenology", i.e. "the substitution of the phenomenology of the world for a phenomenology of life". This question raises another question: the constitution of intersubjectivity, which this article is trying to answer by developing a schema of intersubjectivity through a critical rereading of the theory of Nietzsche about active force and reactive force.
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Does contemporary phenomenology envision movement in space as a displacement from a point A to a point B? Is there something more at stake in the movement of our bodies, that cannot be reduced to this type of displacement ? What happens when several bodies move together, like in dance practices of all kinds ? The paper questions the role of repetitive movements in the institution of places we inhabit and the importance of the places we find ourselves to be for the way we move in space. Starting from the philosophical reflections on the Museum of Dance initiated by the French choreograph Boris Charmatz and through analysis of the American choreograph Wendy Woodson's work, the paper aims to shed light on the double dimension of repetitive movements, as they install us in space and as they alienate us from ourselves. The purpose of the paper is to reflect on a phenomenology of rhythm that helps articulate an aesthetic perspective on movement entailing social and political incidences.
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