Cet article vise à interroger l’ambivalence de la notion d’exercice dans le champ artistique, et à en assurer l’intelligibilité par une phénoménologie de la formation de l’habitude. On mettra donc d’abord en lumière le lien essentiel liant l’exercice à l’habitude, et à l’équivoque de cette notion. On cherchera ensuite à interroger la genèse de l’habitude comme structure transcendantale de la visée intentionnelle avant d’entreprendre une phénoménologie de l’acquisition du geste habituel à travers une critique des descriptions du geste chez (...) class='Hi'>Henry. On concevra ainsi l’habitude comme la fixation d’un « horizon de potentialité » qui permet la constitution de l’objet et conditionne de cette manière la perception. Cette phénoménologie vise à mettre en évidence le caractère acquis et contingent des habitudes perceptives, afin de concevoir l’exercice en art comme une pratique de renforcement, de subversion et de génération de telles structures habituelles. On exposera enfin la possibilité de cette pratique en montrant que la formation de nouveaux gestes repose ultimement sur un conditionnement affectif. La possibilité de l’art est ainsi conçue, non pas dans un « désintéressement », mais dans un « intérêt flottant » permettant un renouvellement de la perception dans lequel l’habitude joue un rôle clef. (shrink)

Michel Henry is regarded as one of the most important French philosophers of the second half of the 20th century. Yet, he is still not widely cited as Edmund Husserl, Martin Heidegger, Jacques Derrida and Jean Paul Sartre are. His thought constitutes a philosophy of life, distancing itself not only from the phenomenology of the 20th century, but also from the science and technology inaugurated by Galileo Galilei and Rene Descartes. Furthermore, Leopold Sedar Senghor is an African philosopher whose (...) philosophy has often been misunderstood in both African as well as in most Western philosophical scholarly circles. Critiquing representation in Western thought only makes sense if it is made clear that it is entirely conceivable that this critique squanders its meaning elsewhere, in the East. It is inherent in it. However, very few academics have felt that this should be done. It is essential to make connections, because what Henry discovers puts him in an immediate proximity of the radical approach of Vedanta and the approach of Senghor’s Negritude theory of emotion. The objective of this article is to find significant points of convergence between absolute subjectivity, the idea of affectivity, and Negritude and Vedanta in Henry’s speculative thought. The reading of Henry, Indian philosophy (Vedanta) and Negritude (Senghor) allows for establishing a bridge between Indian philosophy (Vedanta) and phenomenology, most notably a bridge between Negritude and the phenomenology of life. (shrink)

La complessa, profonda e articolata costruzione filosofica di Michel Henry (1922-2002), sviluppata nell’arco di più di quaranta anni, è interamente dominata dalla passione per la verità e dalla fedeltà alla ricerca. Per comprenderla a fondo è necessaria una solida conoscenza della tradizione filosofica e fenomenologica a lui precedente, che tenga conto non solo del pensiero di Heidegger e Husserl ma anche — tra gli altri — di Cartesio, Kant, Hegel, Merleau-Ponty e Sartre. Sulla base di una at...

The objective of this study is to make a proposition about our relationship with the environment, with the earth and the cosmos. The central argument of this study is based on Michel Henry’s phenomenology of life, which proposes an affective relationship with nature. This argument opposes the scientific technical conception that, according to Husserl, forgot the world of life, of sensibility. Henry takes up Husserl’s arguments, however, he presents others such as co-appropriation and shows that our relationship is (...) rooted affectively with the land and not in possession. The phenomenology of life points to a change in our attitudes, especially in our way of relating to the environment. It requires a real ‘leap’, a reversal of our thoughts, beliefs, habits, customs and actions. This is because technological development invites and instigates us to ‘explore’ the earth and forgets that it is an absolute otherness and that it needs to be loved and respected by everyone in its depth. (shrink)

Alongside with ethics and religion, art occupies a prominent place in Michel Henry’s phenomenology of life. His opposition to Husserl and Heidegger, and his analyses of Wassily Kandinsky’s paintings and theoretical works, led Henry to the conclusion that the content of art is the ‘invisible life’. As a consequence, art – itself invisible though at the same time revealing the Life – becomes a means of achieving a non-intentional experience (pathos) of Life in its transcendental affectivity. The (...) radical immanence of experiencing art stands in sharp contrast to the visible external world, thus opening new directions in phenomenological study of both aesthetic and religious experience. In this article, I point out the ontological, epistemological and axiological limitations of Henry’s and Kandinsky’s art theory. (shrink)

The studies in this book set out to examine the labile resonances of phenomenology and art in Michel Henry, by examining the different figures of movement given to the concept of the aesthetic by the philosopher. They are preceded by one of Michel Henry’s own texts. Les études qui composent ce livre proposent d’interroger les résonances labiles de la phénoménologie et de l’art chez Michel Henry, en examinant les différentes figures du déplacement imprimé par le philosophe au (...) concept d’esthétique. Le tout est précédé d’un texte de Michel Henry. (shrink)

Cet entretien réalisé le 30 novembre 1999 à Paris présente l’évolution de la philosophie de Michel Henry, depuis L’essence de la manifestation jusqu’à l’Incarnation. Il s’agit de présenter le projet, la place et la centralité de L’essence de la manifestation dans l’œuvre de M. Henry, puisque c’est dans cet ouvrage qu’il a mis au jour les présuppositions de sa phénoménologie de la vie et de l’intériorité subjective, présuppositions qu’il fera travailler dans tous les ouvrages qui lui succéderont, ceci (...) jusqu’à L’incarnation. Elle s’oppose à une phénoménologie du monde, de l’extériorité et de l’objectivité. Son concept central, celui de chair, pense la matière affective du Soi, c’est-à-dire du corps subjectif. Il est inséparable d’une thèse : à savoir que la corporéité (rapport au corps) est antérieure à l’intentionnalité (rapport au monde). Une phénoménologie du corps subjectif est donc apte à saisir la vie dans son immanence. Elle conduit à une archéologie de la chair dans l’Incarnation, analyse de la matière constituante de la vie qui précède et habite toute intentionnalité. (shrink)

De Husserl à Henry, l’essence de la phénoménalité a changé de lieu, quittant le monde de la manifestation dans lequel l’être est à la fois caché et livré par des apparences, pour la pureté d’une auto-affection qui ne saurait s’y révéler comme telle, étant donné que son déploiement est purement immanent. Si la phénoménologie husserlienne ne peut, selon Michel Henry, que contribuer à « étendre le règne de l’apparence », la philosophie henryenne ira jusqu’à remettre en question le (...) statut de la phénoménalité à partir de la vie transcendantale incarnée. Le paraître se videra ainsi progressivement de la vie transcendantale dont il s’était fait l’expression sensible chez Husserl. En revenant de Henry à Husserl, nous essayons de montrer que si l’apparence est considérée comme la voix sensible de l’apparaître, ce dernier ne cesse pas pour autant de vivre. (shrink)

L'œuvre de Michel Henry aura été de « recueillir » et développer le côté affectif de la phénoménologie, que Husserl, dans un passage clé de ses « Idées directrices », a délaissé au profit du côté intentionnel de la subjectivité - tout comme trois siècles plus tôt Descartes avait « recueilli » la subjectivité écartée par Galitée. Le texte qui suit compare le concept de soubassement, ou âme, chez Husserl avec celui de chair chez Michel Henry. On verra (...) que les deux philosophes parlent d'une couche sensible, qu'on peut d'une certaine manière situer entre corps et esprit, de deux points de vue diamétralement opposés. Au-delà de l'opposition entre les deux philosophies, cette recherche mène à une interprétation topologique du rapport ente corps, âme et esprit, tel que suggéré par le terme husserlien de soubassement, et propose un éclairage différent de la notion henryenne d'auto-affection. (shrink)

En reposant la question fondamentale de la phénoménologie, et de la philosophie — la question de la donation —, en interprétant celle-ci non plus seulement, selon la pensée traditionnelle de l'Occident, comme apparition dans un monde mais comme l'étreinte invisible de la vie en son propre pathos, la phénoménologie matérielle soulève des problèmes nouveaux et paradoxaux. Trois d'entre eux font l'objet des présentes études : 1 / La matière de la conscience, l'Impression, n'est plus un contenu opaque attendant l'éclaircissement de (...) la forme intentionnelle, ne s'exhibant que dans l'Ek-stase du Temps : elle accomplit la Révélation en elle-même, dans sa chair affective. Au lieu de définir une discipline mineure, vite oubliée, la phénoménologie hylétique — matérielle — dessine la tâche de l'avenir. 2 / La possibilité de connaître la vie invisible donne son sens au problème de la méthode phénoménologique et exige que celle-ci soit repensée entièrement. 3 / La relation à autrui change elle-même de nature si, avant de pouvoir être reconnue au milieu du monde, elle prend corps dans la vie où naissent tous les vivants, l'autre aussi bien que moi-même — si elle est un « pathos-avec ». — Michel Henry —. (shrink)

RésuméJ'analyse la façon dont Bergson caractérise la logique tel un organe de simplification, de dissimulation, d'ordonnance, de limitation, de systématisation, comme habitude de pensée et comme ontologie foncière. Partout, la logique semble la prérogative de l'entendement et inapte à s'appliquer à la durée, voire à la réalité elle-même. Pour sortir d'un tel dualisme, je montre que Bergson conçoit une logique de l'absurde et de l'imagination, avec le rêve, la folie et le comique, laquelle transmute la logique dans le domaine du (...) pathologique et de l'art littéraire, et offre à l'image une seconde gloire.In this paper, I analyze the sense in which Henri Bergson characterizes logic, which he understands to be a means of simplification, dissimulation, ordering, limitation and systematizing, as well as a habit of thinking and something basically ontological. Overall, logic seems to be the privilege of the understanding; it is unfit to apply itself to duration, or to reality itself. To help us out of such dualism, I show that Bergson — considering dreams, madness, and comedy — conceives of a logic of the imagination and of the absurd that transplants logic into the field of the pathological and literary art, and that offers a second glory to images. (shrink)

Here I investigate the possibility of a phenomenological approach to Christianity, with the understanding that this would not be a matter of proposing an interpretation, but that such an “approach” would be able to lead directly to the heart of Christianity. I will say immediately that a phenomenology that would be able to undertake such a task is not the historical phenomenology that was born with Husserl. Only an ideal phenomenology that would become what is required would be able to (...) respond to our investigation. This ideal phenomenology is a phenomenology of life. (shrink)

Dying serves so often within the narratives of Western popular culture, as an exercise in self-improvement both to the individual dying and to those looking on. It enlightens, ennobles and renders exceptional all those affected by it. Though mainstream cinema's “grammar of dying” is mired in similar myths, film has the potential to do dying differently: it can, instead, connect us, ethically, to the vulnerability of others. The aim of this article is to pursue this potential of film. Using the (...) mainstream grammar of dying as a starting point, I will consider how the moving image, and this ethical potential, is harnessed within two hybrid-media pieces about a loved-one's decline and death: George Saxon's art installation, “A Record of Undying” (2014) and photographer Briony Campbell's short film The Dad Project (2009). While these works will be located within the traditions and transformations of moving image practice, the primary concern here is with how such emotionally resonant pieces navigate our relation to, and responsibility for, our own and others' harsh realities. In this way, the question of ethics is grounded not in the solipsistic circuits of affective modes – whether as the catharsis or betterment of mainstream myths, or what Jane Stadler privileges as the ethical effects of empathy – but in something more inherently, more inevitably, political. (shrink)

A part of the “return to religion” now evident in European philosophy, this book represents the culmination of the career of a leading phenomenological thinker whose earlier works trace a trajectory from Marx through a genealogy of psychoanalysis that interprets Descartes’s “I think, I am” as “I feel myself thinking, I am.” In this book, Henry does not ask whether Christianity is “true” or “false.” Rather, what is in question here is what Christianity considers as truth, what kind of (...) truth it offers to people, what it endeavors to communicate to them, not as a theoretical and indifferent truth, but as the essential truth that by some mysterious affinity is suitable for them, to the point that it alone is capable of ensuring them salvation. In the process, Henry inevitably argues against the concept of truth that dominates modern thought and determines, in its multiple implications, the world in which we live. Henry argues that Christ undoes “the truth of the world,” that He is an access to the infinity of self-love, to a radical subjectivity that admits no outside, to the immanence of affective life found beyond the despair fatally attached to all objectifying thought. The Kingdom of God accomplishes itself in the here and now through the love of Christ in what Henry calls “the auto-affection of Life.” In this condition, he argues, all problems of lack, ambivalence, and false projection are resolved. (shrink)

Translator's preface -- Introduction: The question of phenomenology -- Hyletic phenomenology and material phenomenology -- The phenomenological method -- Pathos-with reflections on Husserl's Fifth cartesian meditation -- For a phenomenology of community.

t. 1. De la phénoménologie -- t. 2. De la subjectivité -- t. 3. de l'art et du politique -- t. 4. Sur léthique et la religion.

"Le concept d'inconscient a fait son apparition dans la culture moderne en même temps que celui de conscience et comme son exacte conséquence : dès que l'essence originelle de la phénoménalité, révélée et occultée à la fois par Descartes dans le cogito, a été réduite à la représentation. Pour autant que Freud emprunte explicitement son concept de conscience à cette tradition philosophique, l'affirmation que le Fond de la Psyché échappe à la phénoménalité ainsi entendue revêt une portée immense : elle (...) pose, après Schopenhauer et Nietzsche, que la vie ne s'exhibe jamais dans l'Ek-stase où la pensée, depuis la Grèce, la cherche. Et si, faute de moyens appropriés, le freudisme fut contraint de rejeter dans un arrière-monde les formes élémentaires de l'expérience, si l'affect fut ramené à la pulsion, et la pulsion à un système énergétique conforme aux schémas scientifiques de l'époque, il reste possible de reconnaître, derrière ces constructions spéculatives, à travers ces emboîtements d'hypothèses à l'infini, la figure même de cette vie - la nôtre" - M. Henry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gender Ideology and the “Artistic” Fabrication of Human Sex: Nature as Norm or the Remaking of the Human?Michele M. SchumacherUntil quite recently,” the famous English novelist C. S. Lewis remarked in 1959, “it was taken for granted that the business of the artist was to delight and instruct his public”: that is to say, to address simultaneously their passions and their intellects. “There were, of course, different publics.... And (...) an artist might lead his public on to appreciate finer things than they had wanted at first; but he could do this only by being; from the first, if not merely entertaining, yet entertaining, and if not completely intelligible, yet very largely intelligible.” This constraint—let us call it intelligent (or purposeful) design, in keeping with a basic analogy that we will draw upon in these pages—had however been lost, Lewis observed. Hence, even “in the highest aesthetic circles one now hears nothing about the artist’s duty to us. It is all about our duty to him. He owes us nothing; we owe him ‘recognition,’ even though he has never paid the slightest attention to our tastes, interests, or habits.”1 In short, the artist of modernity need not pay the slightest attention to an intention, not even his own. Modern art need not be an expression of intelligence or [End Page 363] understanding; it is expression as such (tout court): personal and autonomous.2Lewis’s remarks do not point merely to the increasingly relativist tendencies of art in the Western world, to the lack of objective criteria or norms governing the artistic disciplines. They also point to the growing disregard among artists for the sociocultural expectations of their publicum. Mediating between the two is, without a doubt, the basis upon which both artistic and social norms were traditionally founded: nature, which served as a classic analogy for both art (understood in the broad sense, so as to include not only the fine arts, but also technology and practical sciences) and ethics in virtue of nature’s intrinsic inclination towards its defining end and perfection.With regard to the first of these analogies (that of art and nature), Mark Schiefsky explains that although art does bring about “results that nature itself cannot,” it does so in the classic understanding “by acting in a natural way—the way nature would act if it could generate the products of art.”3 As for the difference between the two, nature is moved to its specifying end by way of intrinsic inclinations that are implicit to it, whereas a work of art is moved to its end extrinsically, and thus with more or less violence.4 A sculptor, for example, who introduces a form into a piece of marble, does so by chiseling [End Page 364] and hammering away at the fine stone.5 “Art is,” Aristotle explains, “the principle and form of the thing that comes to be [let us say, a sculpture]; but it is located elsewhere [in, for example, the artist’s mind or in a sketch that he has made] than in that thing, whereas the movement of nature is located in the thing itself that comes to be [a tree, for example, or a baby], and is derived from another natural organism [a tree or human parents] which possessed the form in actuality.”6This classic distinction between art and nature parallels the distinction between art and ethics. Ethics “does not affect human action in the same way as do art and technique,” Servais Pinckaers explains. Unlike art and technique, which are concerned with “the external work produced by human action”—this painting or that machine, for example—ethics is concerned with an immanent principle, qualifying the actor as such: the stable dispositions (or habitus: virtues or vices) at the origin of “the active willing that is the principle source of the action.”7 This immanent principle at the source of ethical action is—to complete our analogy—creative in only a limited sense. The human person is indeed free to choose, but he or she is not free to decide “what is good or evil” as such, nor what is “good or bad for... (shrink)

Cet article présente des notes préparatoires inédites de Michel Henry sur le phénomène érotique. Ces notes sont essentiellement relatives à la préparation des ouvrages « Philosophie et phénoménologie du corps » et « L’essence de la manifestation », mais également et plus tardivement de son livre « Incarnation ». Maine de Biran est au cœur de ce projet, mais Michel Henry lit et commente également ses contemporains, dont Sartre qui est sans doute celui qui reçoit le plus d’attention (...) de sa part. (shrink)

This article, published originally in French just after the 1989 release of Jean-Luc Marion’s book Reduction and Givenness, consists of a sustained critical study of the manner in which Marion advances from the basic principles of phenomenology. Henry outlines briefly three principles, “so much appearance, so much being,” “the principle of principles” of Ideas I, “to the things themselves!” before entering into a lengthy dialogue with Marion’s proposal of a fourth principle: “so much reduction, so much givenness.” Henry (...) submits each principle to critique, highlighting that they contain confusing premises. Henry is appreciative of Marion’s capacity to root the appearing of phenomena in givenness, but he ultimately finds problematic the gap between the call and response that is a fundamental structure of Marion’s fourth principle. Henry, in contrast, develops his own theme of pure givenness, expressed in the form of subjectivity he calls auto-affection, in the final pages of the article. (shrink)

Der transzendentalen Subjektivität als sinngebender Instanz liegt in der Husserlschen Phänomenologie ein fundamentaler, der Reflexion nicht zugänglicher Bewusstseinsbereich zugrunde: die absolute Subjektivität.Das basale Defizit der epistemisch ausgerichteten Phänomenologie Husserls ist die Unmöglichkeit einer unmittelbaren Selbstreferenzialität in Bezug auf das eigene Selbst-Bewusstsein. Ausgehend von einem ersten Zugang zur Präreflexivität bei Sartre wird auf Grundlage eines radikalisierten phänomenologischen Designs Michel Henrys und Jean-Luc Marions die Struktur dieser basalen Bewusstseinssphäre systematisch entwickelt.

Jean-Paul Sartre insists that Marxism is the only philosophy that speaks to and out of the condition of contemporary man. Each cultural period has but onephilosophy that is authentic. Today, that philosophy is Marxism. Even if one accepts Sartre's position, it is clear that Marxism today is not one monolithic ideologydeveloped by proclamation. A recent group of articles in Philosophy Today , devoted to the thought of Ernst Bloch, indicated this. The two followingarticles of Michel Henry and Arthur McGovern (...) indicate further some of the sources of diverse interpretations and positions. (shrink)

To address the theological turn in phenomenology, this paper sets out critical arguments opposing the theist phenomenology of Michel Henry and Gilles Deleuze’s philosophy of the event. Henry’s phenomenology has been overlooked in recent commentaries compared with, for example, Jean-Luc Marion’s work. It will be shown here that Henry’s philosophy presents a detailed novel turn in phenomenology structured according to critical moves against positions developed from Husserl, Heidegger, and Merleau-Ponty. This demonstration is done through a strong contrast (...) with Deleuze and a short engagement with Quentin Meillassoux. The paper presents an argument against the theological turn on the grounds that it misunderstands the form of affectivity when compared to Deleuze’s work on affect and event. It will be argued that Henry’s search for a free-standing affect deduced as a condition for any appearance underplays the way any affect is included in many causal and transcendentally determined series such that any notion of the pure affect independent of other processes is a fiction. The loss of this pure affect entails the questioning of the theological turn in Henry. (shrink)

Claire Katz & Lara Trout, Emmanuel Levinas. Critical Assessments of Leading Philosophers ; Thomas Bedorf, Andreas Cremonini, Verfehlte Begegnung. Levinas und Sartre als philosophische Zeitgenossen ; Samuel Moyn, Origins of the Other: Emmanuel Levinas between Revelation and Ethics ; Pascal Delhom & Alfred Hirsch, Im Angesicht der Anderen. Levinas’ Philosophie des Politischen ; Sharon Todd, Learning from the other: Levinas, psychoanalysis and ethical possibilities in education ; Michel Henry, Le bonheur de Spinoza, suivi de: Etude sur le spinozisme de (...) Michel Henry, par Jean-Michel Longneaux ; Jean-François Lavigne, Husserl et la naissance de la phénoménologie. Des Recherches logiques aux Ideen: la genèse de l’idéalisme transcendantal phénoménologique ; Denis Seron, Objet et signification ; Dan Zahavi, Sara Heinämaa and Hans Ruin, Metaphysics, Facticity, Interpretation. Phenomenology in The Nordic Countries ; Dimitri Ginev, Entre anthropologie et herméneutique ; Magdalena Mărculescu-Cojocea, Critica metafizicii la Kant şi Heidegger. Problema subiectivităţii: raţiunea între autonomie şi deconstrucţie. (shrink)

앙리는 1984년 발표된 논문, 「코기토와 현상학의 이념」에서 처음으로 자신의 독창적인 데카르트에 대한 해석을 제시한다. 그리고 바로 이 논문에서 우리는 앙리가 ‘질료 현상학’이라는 용어를 처음으로 사용하는 것을 볼 수 있다. 비록 앙리가 ‘질료 현상학’이라는 이름을 자신의 철학이 아닌 데카르트의 철학에 부여하고는 있지만, 우리는 이 말, ‘질료 현상학 phenomenologie materielle’이라는 용어가 정확히 후설의 ‘질료(質料) 현상학 phenomenologie hyletique’을 겨냥하고 있다는 사실과 그것이 의미하는 바가 무엇인지 어렵지 않게 추측해 볼 수 있다. 즉 후설의 현상학과 그 길을 달리하는 진정한 의미의 앙리 현상학이 시작되는 곳은 바로 (...) 이 지점이다. 이 논문에서 필자는 데카르트에 대한 후설의 해석과 이에 대한 앙리의 해석을 병치시켜 비교함으로써, 앙리 현상학이 어떻게 후설의 현상학과 구별되며, 그 고유한 탐구영역이 무엇인지를 보여줄 것이다. (shrink)

C’est dans l’approche phénoménologique de la subjectivité que la question de l’identité du moi se pose avec la plus pure radicalité. Le problème s’inaugure chez Husserl : la réduction mène à l’analyse de la constitution qui rend possible l’ego transcendantal. Mais rendre compte de son identité en termes d’auto-constitution aboutit à l’aporie. L’incompatibilité entre trans-temporalité de l’ego et synthèse intentionnelle semble dépassée par Michel Henry, qui substitue l’affectivité originaire de l’auto-affection pure à la spontanéité de la « synthèse passive (...) ». Mais au prix d’une contradiction : si l’expérience paradigmatique de la vie est celle de la souffrance, la structure du souffrir confirme-t-elle l’étrange thèse selon laquelle « c’est la souffrance qui se souffre elle-même »? (shrink)

At the dawn of the modern era, philosophers reinterpreted their subject as the study of consciousness, pushing the body to the margins of philosophy. With the arrival of Husserlian thought in the late nineteenth century, the body was once again understood to be part of the transcendental field. And yet, despite the enormous influence of Husserl’s phenomenology, the role of "embodiment" in the broader philosophical landscape remains largely unresolved. In his ambitious debut book, _Phenomenology and Embodiment,_ Joona Taipale tackles the (...) Husserlian concept—also engaging the thought of Maurice Merleau-Ponty, Jean-Paul Sartre, and Michel Henry—with a comprehensive and systematic phenomenological investigation into the role of embodiment in the constitution of self-awareness, intersubjectivity, and objective reality. In doing so, he contributes a detailed clarification of the fundamental constitutive role of embodiment in the basic relations of subjectivity. (shrink)

Michel Henry a fondé une partie de son oeuvre philosophique sur la phénoménologie matérielle. L'ouvrage tente d'en analyser la singularité, parmi les oeuvres d'autres phénoménologistes tels que Husserl, Heidegger, Sartre, Merleau-Ponty, Ricoeur et Derrida. Cette analyse renvoie à une interrogation de la phénoménologie matérielle elle-même et ouvre d'autres voies de réflexion.

The recent interpretation of Michel Henry’s thought as a ‘phenomenological vitalism’ raises fundamental questions regarding the reception of his phenomenology. The issue raised, however, is not primarily about radical phenomenology being inspired (or not) by more or less vitalistic philosophies like those of Maine de Biran, Schopenhauer, Nietzsche, and even Freud, rather it concerns the ‘how’ of purely immanent appearing in affect and force understood as immediate corporeality. Does the latter, being original affectivity, require temporality in order to (...) free the affect from its passivity (Passibilit%t) and, thus, in order to enable action? This, however, would lead to an impossible intentional gap or difference within the original phenomenality of life itself. As an alternative, flesh can be seen as a potentiality, inwhich the concrete transcendental possibility and the phenomenological power of appearing as ‘I can’ are already united prior to any formal exercise of freedom. Such inquiry into the reception of the phenomenology of life provides at the same time a framework for the contemporary phenomenological debate. (shrink)

This dissertation examines the problem of self-awareness with respect to the phenomenological tradition. The problem of self-awareness concerns whether or not the self, the condition of the possibility for experience, can itself be experienced. Unlike Kant, phenomenology must answer this question in the affirmative, but it cannot hold that the self knows itself via an intentional act in the way that it knows other objects in the world. A solution to the problem requires the articulation of an alternative account of (...) awareness that makes possible a description of the self's self-apprehension independently---but not to the exclusion---of intentionality. Any solution to the problem of self-awareness, then, requires: a broadening of the scope of awareness to include epistemic and non-epistemic modes of manifestation beyond the critique of ontological monism, i.e., the disposition in western philosophy that holds there is only one form of awareness, namely object-awareness; an account of the passive, non-epistemic modes of self-givenness found in subjectivity's temporal and bodily modes of givenness; an account of the relation between self- and hetero-affection that marks an immanence, or self-awareness in transcendence; an illustration of that the closing chapter provides by examining subjectivity's moods and emotions as experiences of the world where the self's temporal flow and bodily experience transcends without losing self-awareness or reducing to object-awareness. The author appeals to the work of Descartes, Kant, Husserl, Heidegger, Sartre, Merleau-Ponty and Michel Henry, as well as that of the contemporary phenomenologist, Dan Zahavi, in order to address and support the above criteria. (shrink)

The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess how Henry interprets Kandinsky’s abstract art and theory; what the consequences of his interpretation mean for the theory of the experience of abstract art; and what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite its (...) containing many interesting ideas, Henry’s phenomenological approach is insufficient to describe the aesthetic experience of Kandinsky’s abstract art. For Henry, aesthetic experience is corporeal, primordial, non-intentional, and independent of knowledge and culture.By contrast, I believe that it is possible and more suitable to connect the direct, corporeal, and affective character of the aesthetic experience of abstract art with intentionality and embeddedness in culture and knowledge. (shrink)

What and how is the work of art? This paper considers Heidegger’s venerable question by way of a related one: what exactly is the essence of the painting? En route to critiquing the Heideggerian conception of the work of art as that which discloses a world, I present Michel Henry’s competing aesthetic theory. According to Henry, the artwork’s task is not to disclose the exteriority of the world, but rather to express the interiority of life’s pathos—what he calls (...) transcendental self-affectivity. To clarify Henry’s view, I examine his analysis of the abstract painting of Kandinsky, after which I illustrate the significance of Kandinsky’s abstractionism by showing how the representational paintings of Paul Signac, Andrew Harrison, Alphonse Osbert, and Henry Ossawa Tanner attempt to express the invisibility of subjectivity. I then reveal how Heidegger’s account of the work of art in terms of world disclosure overlooks the work’s task of exalting life. In closing, I accordingly suggest that Henry’s view of painting—which locates its essence in Life rather than the world—not only presents a competing position to the Heideggerian view of the origin of the work of art worthy of our attention, but one that explains how art can contribute to overcoming our age’s nihilism. (shrink)

Comment comprendre que nous puissions avoir conscience de notre vie affective? Si l’on prend au sérieux les analyses de Michel Henry, cette expérience commune devrait être impossible. Si c’est la vie et l’expérience qui doivent nous servir de guides, alors il faut intégrer les acquis incontournables de la phénoménologie matérielle et la dépasser.

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics and Racism:Toward an Embodied Pedagogy of DifferenceDavid A. Granger (bio)IntroductionThe philosopher Ludwig Wittgenstein once remarked that "The human body is the best picture of the human soul."1 There is a basic truth in this assertion that we recognize (I want to say) intuitively: the notion that human beings are parts both mental and physical, that these facets are ultimately interdependent, and that they are in some measure correlated (...) was a commonplace in the intellectual culture of ancient Athens, especially among Socratic thinkers. It can also be found as a central part of the basic ontology and ideals of self-cultivation espoused in much East Asian philosophy. In the West, however, this deep appreciation for the relationship between mind and body appears somewhat sporadically after the Socratics, only to be fervently reasserted as a main plank in the lived philosophy of the early American pragmatists, as when Henry David Thoreau proclaimed that "We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins to refine a mean's features, any meanness or sensuality to imbrute them."2I use the word "sporadically" above because it is likewise a basic truism that canonical Western philosophy has a long and storied history of rejecting, ignoring, or degrading the human body—that most formative part of our being and connection to the world and to others. The position of the later, more metaphysical Plato is iconic in this regard, and it effectively set the tone for much Christian theology and the Cartesian philosophy of consciousness. For Plato and his adherents, the longing to escape our embodiedness, conceived as a necessary means to human (or perhaps superhuman) perfection [End Page 69] by achieving a godlike existence, requires effectively divorcing ourselves from the irrational brutes of terra firma. The body is conceived as a static constraint to human flourishing rather than a dynamic enabler. It is more or less an adversary, something that we must endeavor to be freed from or subdue.3 Its base senses and unruly passions deceive us epistemologically, while its inexorable power to situate us in space and time limits our objectivity. In its inevitable pains and infirmities, the body is also a constant reminder of the aging process and of our ultimate mortality. Deeming the body as at best a mere servant of the mind, philosophers typically have portrayed it as a veritable prison of deception, temptation, and suffering. Moreover, it is well-established that such thinking has been particularly pernicious in light of the historical identification of women and other marginalized groups with their variously enfeebled, depraved, or uncivilized bodies.4Against this disquieting backdrop, it is only relatively recently that the human body, and the significance of our existence as embodied beings, has received sustained positive attention by leading lights in Western philosophy and criticism. These luminaries include, among others, "feminist" thinkers like Simone de Beauvoir, Julia Kristeva, Luce Irigaray and, of late, Susan Bordo and Judith Butler (with a nod to Michel Foucault, Pierre Bordeau, and others); pragmatists William James and John Dewey (with a nod to Emerson and Thoreau); phenomenologist Maurice Merleau-Ponty (with a nod to Jean-Paul Sartre); analytic philosopher Ludwig Wittgenstein (with a nod to James); and postmodernist Michel Foucault (with a nod to Friedrich Nietzsche, George Bataille, and the ancient Asian ars erotica tradition5). While these thinkers do not universally praise the body and its active, conscious cultivation for human flourishing (about which more later), they nonetheless acknowledge its necessity for all perception, action, and even thought.6 In short, they all seek to recognize and elucidate the significance—cognitive and affective, discursive and nondiscursive—of our full embodied intelligence.Looking specifically at the architectonics of the body espoused by the trio of Dewey, Foucault, and Wittgenstein, this article uses what philosopher Richard Shusterman terms "analytic somaesthetics" to examine some of the primary embodied dimensions of feeling, perception, action, and thought, particularly through the functioning of habit.7 In doing so, it seeks to expose the way various ideologies of domination (for example, racism, sexism, classism, ableism, heterosexism, ageism, etc.) are covertly (and at times overtly) materialized... (shrink)

Le problème du temps chez Michel Henry n’a pas encore fait l’objet d’une étude séparée. Le rejet abrupt de cette question chez l’auteur n’a certainement pas favorisé l’intérêt des critiques pour ce sujet. Dans un premier temps, en 1963 dans L’Essence de la manifestation , Michel Henry considère le problème du temps (à travers le filtre du Kantbuch de Heidegger) comme étant le « même » que celui de la récepti­vité, soit en le renvoyant à l’auto-affection. Celle-ci étant (...) comprise comme opposée ou, mieux encore, comme « étrangère » au kantisme, en tant qu’elle est affection pathétique de soi à soi. Puis, en 2000, dans Incarnation , Michel Henry conteste au « flux temporel » des Leçons pour une conscience intime du temps de Husserl la volonté néantisante du moment présent, tout en l’utilisant subrepticement dans des moments clés de son argumentation ; il lui oppose le sens de l’ « apparaître » s’auto-fondant. Enfin, nous proposons de reprendre les concepts henryens d’ « effort » et de « pouvoir-toucher », présents dans la deuxième partie d’ Incarnation , pour penser une « origine de l’espacement » préalable à la pensée de la tempora­lité ek-statique comme à celle de l’espace. (shrink)

Resumen: El presente artículo analiza el problema de la afectividad en la concepción de la Fenomenología de la vida del filósofo francés Michel Henry, quien la concibe como fundamento de la subjetividad y esencia de la manifestación. Henry realiza un análisis de la obra del pintor Vasily Kandinsky, y muestra cómo la pintura abstracta, no figurativa, logra expresar en los colores y formas aquello invisible que es la esencia de la pintura y que coincide a su vez con (...) la Vida. La concepción de abstracción elaborada por Kandinsky refiere al contenido invisible e interior, que se expresa a través de colores y formas, pero que es la vida misma en su pathos subjetivo fundamental. De este modo, según Henry, el arte se transformaría en único lenguaje para expresar la radicalidad de la vida afectiva, porque no representa nada exterior o extraño, su contenido es la vida misma.: The present article analyzes the problem of affectivity in French philosopher Michel Henry's conception of Phenomenology of life, conceived of as the foundation of the subjectivity and the essence of the manifestation. Henry analyzes the work of the painter Vasily Kandinsky, showing how abstract and non-figurative painting expresses in colors and forms something invisible, which is the essence of the painting and coincides with the Life. Kandinsky's conception of abstraction refers to the invisible and the inner content, which expresses itself through colors and forms, being the life itself in its fundamental subjective pathos. In this way, the art becomes the only language capable to express the radicality of the affective life, because it does not represent anything exterior or foreign, being its content the life itself. (shrink)

Born in 1900–1901 with the publication of Edmund Husserl’s Logical Investigations, phenomenology, as a critical method of reflection on consciousness and its cognitive achievements against its naturalisation in the natural sciences, has undergone many changes and developments. Critiques of both its methods and tasks have emerged, plus it has served as an inspiration for numerous thinkers, including Max Scheler, Martin Heidegger, Jean-Paul Sartre, Gabriel Marcel, Simone de Beauvoir, Maurice Merleau-Ponty, Jean-Luc Nancy, Michel Henry, Emmanuel Levinas, Hans-Georg Gadamer, Paul Ricoeur (...) and Jacques Derrida, in their attempts to address the question of value, the meaning of being, existence, the lived body, the Other, life, art, history and language in original and fresh ways. The current paper reflects upon the question of what the fate of phenomenology in the twenty-first century could be by considering some of the recent work presented at the first conference of the South African Centre for Phenomenology held at the University of Johannesburg earlier this year. (shrink)

Certified nursing assistants (CNAs) provide up to 80% of the direct care to older adults in long‐term care facilities.CNAs are perceived as being at the bottom of the hierarchy among healthcare professionals often negatively affecting their job satisfaction. However, manyCNAs persevere in providing quality care and even reporting high levels of job satisfaction. The aim of the present investigation was to identify primary themes that may helpCNAs make meaning of their chosen career; thus potentially partially explaining increases in job satisfaction (...) among this group. Focus groups were conducted withCNAs at three long‐term care facilities. Four themes emerged from the data:CNAwork is good or special;CNAas relationship builder;CNAas expert;CNAas team member. These themes reflect the perceptions that theseCNAs held in regard to themselves and their relationships to others in the work environment and, when present, can contribute to intrinsic job satisfaction. Our meaning‐making themes support the premise thatCNAs do not passively accept the evaluations of others but instead actively frame identities that validate their importance to residents and the institution. (shrink)

Este repertorio registra información de Husserl en la Internet, una breve historia sobre los Nachlaß, el índice de la Husserliana, un listado de las publicaciones de y sobre Husserl disponibles en la Biblioteca Central de la Pontificia Universidad Católica del Perú, y los artículos sobre Husserl que se encuentran en la Hemeroteca. El listado abarca las publicaciones existentes hasta el año 1997.

Henri Maldiney’s aesthetics can be seen as an attempt to push traditional phenomenological descriptions of the image, such as can be found in the works of Husserl and Sartre, to their theoretical limits. In this paper, I examine how Maldiney’s phenomenological approach to visual works of art leads him to disclose a non-intentional dimension of the image which is that of “form.” At this level, the image is not primarily a structure or modification of consciousness, but a mode of presence (...) to the world. Next, in turning towards what Maldiney considers to be non-objective forms of pictorial representation, exemplified by Byzantine mosaics and the works of Paul Cézanne, I show how this presence is articulated rhythmically in a tension which embraces both image and viewer. Finally, I explore the meaning of Maldiney’s claim that the image is not an imitation of reality, but synonymous with reality itself. (shrink)

Moritz Geiger developed an original phenomenological account of the splitting of the Ego in two papers, written in 1911 and 1913. Husserl read the 1911 paper as he was working on preliminary manuscripts to Ideas I. The first part of Husserl’s comments focused precisely on the splitting of the Ego. In this paper I will answer three questions: What is the historical-philosophical context of Geiger’s and Husserl’s discussion on the splitting of the ego? What are the phenomenological features of the (...) splitting of the ego? What is the relevance of Geiger’s account of the splitting of the ego, for the further development of Husserl’s phenomenology? Reading Geiger was, indeed, the first occasion in which Husserl started to develop his own phenomenological account of the splitting of the ego. This will prove itself to be crucial for his mature analyses on the phenomenological reduction, as Husserl will distinguish more clearly between reflection and splitting of the ego. (shrink)

In the vocabulary of the late Middle Ages and early Renaissance the term ‘humanist’ literature refers only to profane, as opposed to sacred, writings. However, the greatness of the ancient authors appeared such that a certain confusion was created between profane and classical writings. Thus the idea arose of what was much later called humanism, and the feeling of a mission ‘to revive dead things’ (in the words of Machiavelli) gained ground. Today we like to give a wider meaning to (...) the word humanism: to be a ‘humanist’ is to have faith in Man, to believe in his eminent dignity and in the potentialities of his genius. Such humanism is of all times, but it seems (and this is no mere chance) that its golden age coincides with that of the renaissance of antiquity and that it has remained inextricably linked with classical culture—culture understood here in the two-fold sense of ‘knowledge’ and ‘cult’ of Graeco-Roman antiquity. The reason for this correspondence between certain ideas on the potentialities of Man and admiration for the ancients is founded not only on the fact that these latter were admirable because of their wisdom, their virtues and their arts, but also, and primarily, because in the eyes of the Christians (who had good cause to believe themselves their equals), these ancients, whether Latin or Greek, not having received the help of Revelation and Redemption, had to accept on their own account the authority of moral law and to procure for themselves all the benefits of a truth envisaged only imperfectly. How could such triumph of Man, incomplete though it might have been, be arrived at? This was a crucial question, ever since the first centuries of Christianity, a question to which the Fathers of the Church, particularly the Greek Fathers, had found various answers. Some of them denied that the pagans had any knowledge whatever of Truth, others admitted that whatever they had learned or divined of Truth could be due merely to chance Hebraic influence or to the grace of partial revelation. (shrink)

This book is an introduction to French phenomenology in the post-1945 period. While many of phenomenology's greatest thinkers--Husserl, Heidegger, Sartre and Merleau-Ponty--wrote before this period, Steven DeLay introduces and assesses the creative and important turn phenomenology took after these figures. He presents a clear and rigorous introduction to the work of relatively unfamiliar and underexplored philosophers, including Jean-Louis Chrétien, Michel Henry, Jean-Yves Lacoste, Jean-Luc Marion and others. After an introduction setting out the crucial Husserlian and Heideggerian background to French (...) phenomenology, DeLay explores Emmanuel Levinas's ethics as first philosophy, Henry's material phenomenology, Marion's phenomenology of givenness, Lacoste's phenomenology of liturgical man, Chrétien's phenomenology of the call, Claude Romano's evential hermeneutics, and Emmanuel Falque's phenomenology of the borderlands. Starting with the reception of Husserl and Heidegger in France, DeLay explains how this phenomenological thought challenges boundaries between philosophy and theology. Taking stock of its promise in light of the legacy it has transformed, DeLay concludes with a summary of the field's relevance to theology and analytic philosophy, and indicates what the future holds for phenomenology. Phenomenology in France: A Philosophical and Theological Introduction is an excellent resource for all students and scholars of phenomenology and continental philosophy, and will also be useful to those in related disciplines such as theology, literature, and French studies. (shrink)

The article raises the subject of intentionality of art in the light of transformations that counter-intentional phenomenology and non-intentional phenomenology have undergone. The changes to the way intentionality was understood substantially influenced aesthetic reflection and for that reason the starting point for the article is the analysis of Edmund Husserl’s intentional phenomenology followed by counter-intentional phenomenology of Jean-Luc Marion and non-intentional phenomenology of Michel Henry. Next, we will analyse how the ideas were absorbed by the developing phenomenological reflection on (...) art, which paradoxically resulted in counter-reduction of the world and existential opening to experiencing its contents thanks to art. At the same time, the changes in understanding intentionality opened new directions for research into the intentionality of art itself. Therefore, the article aims at pointing towards contemporary research areas for phenomenological aesthetics and also indicates major methodological problems related to counter-intentional and non-intentional research perspective. (shrink)