Inga Bartkienė

In the thesis a description of the other person as a phenomenon of icon in thinking of a contemporary French philosopher Jean-Luc Marion is researched. A question is raised how the icon (as Marion describes it) can be recognized in the face of the other. A notion of “iconic visibility” is accepted and employed to study how phenomenal “structure” of the first icon – Christ – repeats itself in the face of the other. Main features allowing to interpret the face as the icon from the phenomenological and not theological point of view are displayed. “Subject” capable of recognizing the icon is researched in detail. It is argumented why the gifted should not be considered to be a passive object-like givee and why the other is not the only active subject-like pole of the phenomenon. Features of Marion’s conception of the icon which determine the initial lack of evidence of the phenomenon are disclosed. It is shown that the difficulty of recognition of the icon is inherent to the description of the phenomenon. The role of the phenomenon of love for the appearing of the icon is highlighted and Marion’s conception of love is discussed. A possibility to demonstrate the icon as a final and inevitable interpretation of the face of the other was not found. It is reasoned that the possibility of such demonstration is prohibited in the very definition of the phenomenon. In spite of that it was shown how such a phenomenon may appear, therefore, lack of proof does not deny the possibility of appearing.

The question of a «subject» appears in a new way in the context of a «third type» of phenomenon, introduced explicitly by a French philosopher Jean-Luc Marion. His idea of saturated phenomenon opens a discussion about the possibility and way of cognition with regard to the saturated phenomenon as well as the one who manages to receive it – the givee. I chose to approach this question through the aspect of cognition, since it is so radically transformed in this perspective, which can be called as phenomenology of givenness. First I shortly introduce the scene of action by sketching the concept of the saturated phenomenon and its incompatibility with the traditional concept of cognition (or knowledge). Ken the problem of cognition in the context of saturated phenomenon is addressed by a double analysis: that of the recipient of such givenness and a particular case of the saturated phenomenon – the face as icon. Ways in which the encounter with the saturated phenomenon retains the right to be called cognition are explicated, as well as the way in which it is incompatible with conceptual knowledge. Ke role and status of the one who knows, i. e. transformation from «subject» to the givee, is also discussed.

In this article the phenomenon of an icon (as described by Jean-Luc Marion) is considered in relation with its media of appearance. Asking whether it can appear and be recognized as such in any medium or only in “iconic” media, attention is directed towards electronic media, namely the television, film and computer screens. The main question is whether “crossing of gazes” and recognition of the face is possible on screen. If not, the screen remains univocally a medium of an idol. Relation of an invisible icon to its medium (or environment) is found to be twofold: on the one hand, an icon itself is of ‘mediatic’ structure, since it implements the “medium is the message” phrase, given by Marshall McLuhan. The visible side of an icon is fully subservient to its invisible message – in other words, it becomes its message. On the other hand, an icon uses some kind of (additional) medium for its appearing. The medium can become an obstacle or a means due to its capabilities of presenting a situation of image and certain image logic with it. Although, J.-L. Marion is strictly sceptical about the possibilities of audio-visual technologies to transmit the phenomenon of the face, several occasions for a doubt and further investigation are found. Firstly, the liberation from the status of an idol to a certain extent and hence a suggestion of an icon is found where the ‘content’ of the medium reveals the medium itself. Thus, it enables recognising the image as image and implies the segmentation of ‘layers’ of images. Secondly, strong suggestion of the face of the other addressing me (the viewer) personally is observed in the situation of accepted prayer. However, this possibility is only discovered in examples and it is still lacking theoretical background. Except of this, the screen remains a medium which ‘filters out’ the phenomenon of an icon. On the whole, at least a suggestion of an icon is thought to be able to use the screen as its medium.

This article deals with a possibility to express experience through language in a philosophical talk. Effect of a philosophical talk is revealed through the analogy of an impact of artwork. Aspects of an artistic experience are given as a basis for application of the same mechanism when thinking about a philosophical talk. Dimentions of a „weighty“ talk as opposed to an empty one are described and analysed. A talk as creation is opposed to a mere comment referring to George Steiner; memorization of a text or a talk is put as a condition for true interpretation and hence a „weighty“ talk. However, character of memorizing is questioned in analysis of G. Steiner’s suggested vigilant memory and patterns of memorization in oral culture, discussed by Walter Ong and Albert Lord. It is suggested that unconscious aspect of our memory could be effectively used in stimulating a vivid interaction between words and experience, thus helping to reveal their meaning. Another aspect important for the topic is dimention of narrative and dialogue. Talking as narration is considered not as a direct transfer of experience, but as a seed for it. Talking as dialogue is related to creating experience in the moment of talking, also having a great effect on perception of the issue and is further related to the question of ethics. On the whole, the topic of this work could be described with a question: „how is it possible to say more than words?“.

This article deals with a possibility to express experience through language in a philosophical talk. Effect of a philosophical talk is revealed through the analogy of an impact of artwork. Aspects of an artistic experience are given as a basis for application of the same mechanism when thinking about a philosophical talk. Dimentions of a „weighty“ talk as opposed to an empty one are described and analysed. A talk as creation is opposed to a mere comment referring to George Steiner; memorization of a text or a talk is put as a condition for true interpretation and hence a „weighty“ talk. However, character of memorizing is questioned in analysis of G. Steiner’s suggested vigilant memory and patterns of memorization in oral culture, discussed by Walter Ong and Albert Lord. It is suggested that unconscious aspect of our memory could be effectively used in stimulating a vivid interaction between words and experience, thus helping to reveal their meaning. Another aspect important for the topic is dimention of narrative and dialogue. Talking as narration is considered not as a direct transfer of experience, but as a seed for it. Talking as dialogue is related to creating experience in the moment of talking, also having a great effect on perception of the issue and is further related to the question of ethics. On the whole, the topic of this work could be described with a question: „how is it possible to say more than words?“.