Christian Lotz

Hubert L. Dreyfus has worked out a critique of what he calls “representationalism” and “cognitivism,” one proponent of which, according to Dreyfus, is Husserl. But I think that Dreyfus misunderstands the Husserlian conception of practical intentionality and that his characterization of Husserl as a “representationalist” or as a “cognitivist” is thereby wrongheaded. In this paper I examine Dreyfus’s interpretation by offering a Husserlian critique of Dreyfus’s objections to Husserl, and then by outlining Husserl’s account of practical intentionality and the practical lived Body. I sketch the critique and the approach of Dreyfus in three steps. First, I deal with his objections against Husserl’s theory by arguing that Dreyfus understands neither the role of the reduction nor the function of background-awareness in Husserl’s phenomenology. Second, I elucidate the central role that the “practical lived Body” plays in practical intentionality for Husserl, and, third, I highlight the consequences that follow from the analyses offered in the previous sections.

In this paper, I shall present an argument against Deleuze’s philosophy of painting. Deleuze’s main thesis in Logic of Sensation is twofold: [1] he claims that painting is based on a non-representational level; and [2] he claims that this level comes out of the materiality of painting. I shall claim that Deleuze’s theses should be rejected for the following reasons: first, the difference between non-intentional life and the representational world is too strict. I submit that the nonintentional relation that painting opens up is itself part of andemerges out of the representational force of painting. If this would not be the case, then the criterion for differentiating between paintings and other objects cannot be developed. Indeed, Deleuze fails to give us a criterion. Second, Deleuze’s way of dealing with materiality in painting remains unsatisfactory insofar as he is unable to take into account how materiality is charged with an “attitude toward the world.” In sum, materiality can only be painting’s materiality if we understand it as being formed and disclosed in representation.

Es ist bekannt, daß Husserl Fichtes theoretischer Philosophie keine gute Seite abgewinnen konnte. In den 1917 vor Kriegsheimkehrern gehaltenen und 1918 wiederholten Vorträgen über Fichte spricht Husserl von »abstrusen Konstruktionen«, die in der Wissenschaftslehre Fichtes zu finden seien. Nichtsdestotrotz kann man sehen, daß beide Ansätze mehr als bloße Strukturanalogien aufweisen. Es wurde - wenn auch nicht häufig - darauf hingewiesen, daß sachliche Verweise beider Ansätze aufeinander möglich sind. Die Berührungspunkte in der praktischen Philosophie dagegen fallen eher ins Auge. In seinen Vorträgen orientiert sich Husserl insbesondere an Fichtes populären und religionsphilosophischen Schriften und es ist inzwischen bekannt, daß sich Husserl in den 20er Jahren vermehrt der praktischen Philosophie im Sinne Fichtes zuwendet, über deren Verhältnis zu der seinen er in einem Brief an Adolf Grimme meint, »daß die religions-philosophischen Perspektiven, die mir die Phänomenologie eröffnete, überraschend nahe Beziehung zu Fichtes späterer Gotteslehre zeigen«. Ich möchte mich an dieser Stelle auf den theoretischen Zugang konzentrieren und dabei speziell den Begriff der Affektion bei Fichte und Husserl näher untersuchen.

In this essay, I offer thoughts on the constitution of images in art, especially as they are constituted in painting and in photography. Utilizing ideas from Gadamer, Derrida and Adorno, I shall argue that representation should be conceived as a performative concept and as an act of formation; i.e., as a process rather thanas something "fixed." My reflections will be carried out in connection with a careful analysis of Gerhard Richter's painting Reader (1994), which is a painting of a photograph that depicts a female who is reading. I demonstrate how a close analysis of this fascinating painting leads us deeper into the problem of painted images, insofar as it enacts what it is about, namely, the constitution of itself as an innige by means of a complex and enigmatic relationship between seeing, reading, memory, inner, outer, gaze and blindness.

In this paper, I shall present an argument against Deleuze’s philosophy of painting. Deleuze’s main thesis in Logic of Sensation is twofold: [1] he claims that painting is based on a non-representational level; and [2] he claims that this level comes out of the materiality of painting. I shall claim that Deleuze’s theses should be rejected for the following reasons: first, the difference between non-intentional life and the representational world is too strict. I submit that the nonintentional relation that painting opens up is itself part of andemerges out of the representational force of painting. If this would not be the case, then the criterion for differentiating between paintings and other objects cannot be developed. Indeed, Deleuze fails to give us a criterion. Second, Deleuze’s way of dealing with materiality in painting remains unsatisfactory insofar as he is unable to take into account how materiality is charged with an “attitude toward the world.” In sum, materiality can only be painting’s materiality if we understand it as being formed and disclosed in representation.

Christian Lotz shows in this book that Husserl's Phenomenology and its key concept--subjectivity--is based on a concrete anthropological structure, such as self-affection and the bodily experience of the other. The analysis of the sensual sphere and the lived Body forces Husserl to an ongoing correction of his strong methodological assumptions. Subjectivity turns out to be an ambivalent phenomenon, as the subject is unable to fully present itself to itself, and therefore is forced to allow for a fundamental non-transparency in itself

Scholarship in Heideggerian philosophy can be broadly differentiated into three groups, which evolved in the European and Anglo-American discourses after WWII, namely, first a transcendental (idealist Kantian) approach; second, an Aristotelian approach; and third, a Christian approach to Heidegger’s analytic of Dasein and his fundamental ontology. All of these basic positions are a result of Heidegger’s philosophy on his way to Being and Time (1927) which he developed both in his broad ranging and fascinating lecture courses in Freiburg, where he taught as Husserl’s assistant between 1917 and 1923, and in Marburg, where he taught between 1923 and 1927 (before he returned to Freiburg in 1928 as Husserl’s successor). Interestingly, the analytic reception of Heidegger focuses on Heidegger’s main work Being and Time, whereas the European and “Continental” discourse is oriented towards larger issues, which include philosophical anthropology, theology, hermeneutics, and the history of philosophy. McGrath’s study belongs to the theologically motivated studies on Heidegger’s phenomenology and ontology and thereby contributes to the recent renewed interest in Heidegger’s early philosophy, which arose after his early lecture courses were published in his Collected Works and after it became clear that Heidegger’s way to Being and Time (and his later thinking) not only was heavily influenced by Scholasticism, especially by Duns Scotus, but also by Augustine, Eckhart, and Luther, all of which took effect before Heidegger encountered Husserl’s phenomenology, Neo-Kantianism or Aristotle’s philosophy. The greatness of Being and Time is indeed a result of the ingenious transformation of all these sources into something new.

In this paper, I first argue that Lucien Goldmann’s attempt to confront Heidegger and Lukács, though it deserves to be revitalized, remains ultimately insuficient. Second, I propose that a more fruitful reading of Heidegger and Lukács should be based on three aspects: first, Lukács’ concept of social totality should be related to Heidegger’s concept of world. Second, the more meaningful way to confront Lukács and Heidegger on the level of praxis is not the everyday dealings with ready-to-hand things, but, instead, the second division of Being and Time in which a political concept of subjectivity and action comes to the forefront. Third, a proper approach to Heidegger’s and Lukács’ philosophies should be based on their respective appropriation of the concept of categories.

Der vorliegende Band versammelt Beiträge von Philosophen und Philosophinnen innerhalb der phänomenologischen Forschung, speziell derjenigen Husserls. Die Beiträge zeichnen sich durch ihre innovative Kraft aus, da sie Neuland betreten und der phänomenologischen Forschung neue Wege eröffnen. Die Beiträge repräsentieren den gegenwärtigen Forschungsstand auf internationalem Niveau. Forscher und Forscherinnen aus Österreich, Deutschland, Dänemark, Japan, Taiwan, Italien und den USA sind versammelt. Dieser Band enthält fünf Beiträge in englischer Sprache.