Horacio M. R. Banega

It is accepted that certain mereological concepts and phenomenological conceptualisations presented in Carl Stumpf’s Über den psychologischen Ursprung der Raumvorstellung and Tonpsychologie played an important role in the development of the Husserlian formal ontology. In the third Logical Investigation, which displays the formal relations between part and whole and among parts that make out a whole, one of the main concepts of contemporary formal ontology and metaphysics is settled: ontological dependence or foundation (Fundierung). My main objective is to display Stumpf’s concepts of partial content, independent content, spatial wholes, sound wholes, and the different kinds of connection among parts, in particular, fusion (Verschmelzung). Second, I will show how Husserl improved this background, in particular with regards to the exact nature of the theory of manifolds (Mannigfaltigkeitslehre), in discussion with Georg Cantor, the father of set theory. Third, I will focus on Ingarden’s use of formal ontology and on the different modes of being that can be justified by appealing to the concept of ontological dependence in its Ingardenian variations. If my interpretation is adequate, it should be inferred that formal ontology is the operative theory of phenomenological philosophy, and this must be acknowledged in its full significance with respect to the supposed independence of the phenomenological method since 1913. A further consequence, not developed in this essay, is that formal ontology can be mathematised.

The aim of this article is to clarify how Husserl applies his formal ontology to the constitution of immanent temporality. By doing so, my objective is to unravel the relationships between the phases of this temporality that make up a unit—that is, the relationship between protentions and retentions and a proto-impression that gives rise to the temporal moment “now” in an experience of the immanent consciousness. In connection with this reconstruction, I will attempt to clarify Husserl’s definition of time as a “one-dimensional orthoid multiplicity,” the roots of which lie in Riemann’s work. I interpret Husserl’s description as a model for the description of the phenomenon of time. Its nature as a model seems to unfold with the problem of the time diagram. Which diagram best represents the constitution of immanent temporality? Larrabee has discussed this issue, and I propose that the best interpretation of the diagram is to consider it as applying to a spherical surface rather than a flat one. This interpretation allows us to account for the multiple relationships among presentations, memories, and other presentifications in an empirically appropriate manner while at the same time providing us with another vision of Husserl’s consciousness, which allows us to reconsider the relationship between subjectivity and objectivity.

En este trabajo diseño un posible marco de análisis fenomenológico para describir la experiencia de percibir la performance de que se cuenta un chiste. Partiendo del análisis de Michael Barber en su Religion and Humor as Emancipating Provinces of Meaning, Cham, Suiza, Springer / CARP, 2017 me ocupo de lo que sucede en el ámbito finito de sentido del humor. El chiste presenta una estructura de relato. El análisis del discurso y la semántica lingüística han avanzado en este tema de manera relevante y me apropiaré de algunas de sus consideraciones sobre la estructura del chiste para mi indagación. En la segunda sección me dirigiré a tematizar la experiencia perceptiva de la situación mencionada. Puesto que adhiero a la posición filosófica que sostiene que la risa se produce por la percepción de una incongruencia entre dos historias que se parecen contar en el relato que es el chiste, relacionaré la experiencia de percibir (auditiva y visualmente) ese relato dislocado en la performance con los análisis de las síntesis pasivas temporales de Husserl. Finalmente, si logro explicitar que las síntesis pasivas operan en la experiencia del chiste, entonces mostraré que dicha experiencia es del orden de lo teatral.

[ES] La teoría de la ciencia desarrollada por Husserl en sus Prolegómenos establece una contraparte semántico-formal compuesta por categorías semántico-formales y su contraparte ontológico-formal compuesta por categorías ontológico-formales. En la Tercera Investigación Lógica Husserl se dirige a elaborar esta teoría a priori de las formas de combinación de las partes de un objeto para ser considerado un todo. En la misma se elaboran, diseñan y proponen distintas relaciones formales entre distintos tipos de partes para dar cuenta de distintos tipos de todos. En esta presentación me gustaría ofrecer a consideración la siguiente tesis: Husserl aplica su propia ontología formal al dominio fenomenológico dando por resultado modelos de dicho dominio. Entenderé por «modelo» el resultado de la aplicación de una estructura formal cuyas propiedades son conocidas a un dominio que se pretende conocer. De esta manera, la validez del modelo dependerá de su corroboración empírica. La evidencia textual se encuentra presente en la misma III LU, y en otros pasajes de Husserl diseminados a lo largo de su obra. [EN] The theory of science that Husserl developed in his Prolegomena establishes a formal semantic counterpart made up of formal semantic categories and a formal ontological counterpart made up of formal ontological categories. In the third of his Logical Investigations, Husserl sets about developing this a priori theory of the ways that parts of an object can be combined so as to be considered a whole. In this theory, he proposes, designs, and develops different formal relationships between different types of parts in order to account for different types of wholes. In this presentation, I put forward the following thesis: Husserl applies his own formal ontology to the phenomenological realm, which results in models of this realm. By «model», I mean the result of the application of a formal structure with known properties to a realm that one is seeking to know. As such, the validity of the model will depend on its being corroborated empirically. The textual evidence for this is to be found in the third of the Logical Investigations and in others texts by Husserl from throughout his life.

El artículo presenta los desarrollos de Jorge Portilla en la indagacipon sobre la fenomenología del relajo. Esa explicación se problematiza con el fin de ver sus posibilidades y alcances a partir de tres teorías filosóficas sobre el humor: la teoría de la superioridad, la teoría del alivio y la teoría de la incongruencia. Finalmente, se expone cómo el abordaje de la comicidad es central para ver el despliegue intencional y corporal de los sujetos en sitaciones del mundo de la vida a partir de descripciones fenomenológicas.