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's Art, Literature, and Passions of the Skies (Analecta PDF

ISBN-10: 9400742614

ISBN-13: 9789400742611

Flashes of lightning, resounding thunder, gloomy fog, marvelous sunshine…these are the lifestyles manifestations of the skies. The concrete visceral studies that residing less than these skies stir inside of us are the floor for person impulses, feelings, sentiments that during their interplay generate their very own ever-changing clouds. whereas our mind concentrates at the discovery of our cosmic place, at the structure of the universe, our mind's eye is expert by means of the gloomy vapors, the glimmers of fleeting mild, and the honor of the skies. Reconnoitering from the soil of human lifestyles and striving in the direction of the countless, the elan of mind's eye will get stuck up within the clouds of the skies. There in that dimness, sensory receptivity, inclinations, feelings, passionate strivings, yearnings, elevations assemble and propagate. From the “Passions of the Skies” spring innermost intuitions that nourish literature and the arts.​

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Additional resources for Art, Literature, and Passions of the Skies (Analecta Husserliana, Volume 112)

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We have to explore the essence of knowledge in itself— without reference to nature, in just the same way as we can explore the essence of perception in imagination. ; Husserl, Cartesian Meditations: An Introduction to Phenomenology: § 47. 30 Husserl, Einleitung in der Logik und Erkenntnistheorie. Vorlesungen 1906/07: 396. , 398. 32 Ibid. ; Husserl, Introduction to Logic and the Theory of Knowledge. Lectures 1906/07: 398. 34 Edmund Husserl, Ding und Raum. Vorlesungen 1907, Husserliana: Edmund Husserl—Gesammelte Werke, Band 16 (The Hague: Martinus Nijhoff Publishers, 1973b).

If being is not a being, then the ontological difference means that being arises from a hypostasis, and being and nothing are phases of a more general es gibt, il y a, there is. , 5. 20 A. 29 But what is the origin of being’s withdrawal? What makes it withdraw? What makes it show itself as beings? What makes it the presence of what is present? From and through what does that happen? What drives the withdrawal of being, if it is neither lack nor desire (like Plato’s lovers in The Symposium, like Aristotle’s divine thought-thinking-thought that we want to imitate, or like our nature to know, as described in the opening line of Metaphysics), neither goodness nor love (like the Judeo-Christian God), neither doubt nor the lust to become masters and possessors of nature (Descartes), neither brutishness nor the horror at the state of nature in which all is nasty and short (Hobbes), neither need or negation (Schelling or Hegel), neither the will to self-expression (Spinoza) nor the will-to-power (Nietzsche)?

What then is his relation to Husserl and transcendental phenomenology? 1 Edmund Husserl, Einleitung in der Logik und Erkenntnistheorie. Vorlesungen 1906/07, Husserliana: Edmund Husserl—Gesammelte Werke, Band 24 (The Hague: Martinus Nijhoff Publishers, 1984), 398. For the English translation, see Edmund Husserl, Introduction to Logic and the Theory of Knowledge. Lectures 1906/07, trans. C. Ortiz Hill, Husserliana: Edmund Husserl— Collected Works, Volume 13 (Dordrecht: Springer, 2008), 398. D. ie © Springer Science+Business Media Dordrecht 2015 T.

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Art, Literature, and Passions of the Skies (Analecta Husserliana, Volume 112)


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