Mladen Matić

Autor u radu analizira transformaciju poimanja tela u savremenoj francuskoj i nemačkoj filozofiji, fokusirajući se na koncepte stranog kod Bernharda Waldenfelsa i Jean-Luc Nancyja. U prvom delu rada, kroz Waldenfelsovu responzivnu fenomenologiju, razmatra se telo kao amblem stranog i mesto prvobitne afekcije (pathos). Analizira se distinkcija između relativno i radikalno stranog, te način na koji asimetrični odgovor na „udarac“ stranog redefiniše subjektivnost. Drugi deo rada posvećen je Nancyjevoj ontologiji tela kao mesta (lieu) i njegove „ek-sistencije“. Poseban fokus stavljen je na koncept arealiteta i dekonstrukciju tela u delu Uljez (L’Intrus), gde se stranost ne pojavljuje samo kao spoljašnji fenomen, već kao konstitutivni element unutrašnjosti (to se vidi na primeru transplantacije). Zaključna razmatranja ukazuju na komplementarnost ova dva pristupa. Sa jedne strane, Waldenfels akcentuje responzivnost kao odgovor na strano, dok sa druge Nancy pokazuje da je samo postojanje suštinski izloženo stranosti, čime se subjekt uspostavlja kao „uljez“ u sopstvenoj koži. Iako u finesama različiti, ova dva autora se mogu čitati zajedno u pogledu nadoponjavanja međusobnih filozofskih horizonata.

The author will try to show a very close connection between sensuality, art and beauty, and in the context of new media. Using McLuhan's famous catchphrase "The medium is the message" in the literal sense, the author will try to understand the development of art in step with time, but above all in step with the development of media. In other words, in the context of speed, as presented by Paul Virilio, can we also talk about the works of art themselves, considering that speed is de facto one of the key embodiments of modernity. The thesis in which we somehow reduce art to medium or medium to art brings with it other questions such as, for example, questions of perception itself, and hence of sensibility, where we will include Bergson and Husserl, but also Benjamin. Finally, a key question arises, that is the question of the HOW of the artwork. In the cross-section of this age offered to us by Nietzsche or the postmodernists, which is not overly bright, can we or should we make a sharp distinction between art and mediality, and artwork and media?

In this paper, the author presents one possible interpretation of the myth of Dionysus and Zagreus. In this context, the work explores the original appearances of this unique deity, but approaches these appearances from a contemporary perspective. More specifically, the thinkers involved include Nietzsche, Camus, Waldenfels, Barthes, among others. The guiding thread the author follows relates to the “untimeliness” of the idea of the foreign. This is not presented as a negative or positive trait, but rather as a characteristic free from value judgments. The author observes that the notion of the foreign can be detected already in antiquity, particularly through the various manifestations of Zagreus and Dionysus. It is important to emphasize that such an image only emerges once connections between these appearances are established. Thinking the foreign thus becomes inevitable when one reflects on Dionysus and/or Zagreus. One of the key moments in the relationship between the different manifestations of this deity is the death of Zagreus, or, conversely, the birth of Dionysus. In this sense, the title of the paper shines through. This very moment appears to be crucial for understanding the affirmation of life—and, through that affirmation, the foreign itself. The author approaches the myth from a contemporary perspective, attempting to reshape it in a new form

This paper shows that Adorno and Camus can be read together. This does not imply that their theories can be reduced to the same premises, nor that they share the same goal, but rather that they intertwine. In this regard, the author focuses on the concepts of rebellion, revolution, solidarity, and ethics in Camus, and of praxis, theory, and activism (actionism) in Adorno. Understanding rebellion as something that, unlike revolution, has limits, the author draws parallels with the problem Adorno faced in the 1960s, namely the collapse of theory into new revolutionary thought. In other words, praxis that rejects theory or lynches it knows no limits, because theory turns out to be the guardian of freedom. In this respect, the article also highlights the key roles played by negative dialectics and the concept of jargon in Adorno’s project, while contrasting it with Camus’ proposal of an ethics of solidarity. Here, the relationship with the other is of essential importance. The paper goes on to raise the following questions: Does the relation with the other persist if theory is mocked and neglected in favor of absolute praxis? Does solidarity exist when the other is reduced to a means to an end? What does absolute praxis turn into?

Max Weber’s interpretive sociology examines the complex structure of human social action, emphasizing tradition as a central focus to clarify the relationship between past and present. In phenomenological terms, traditions function as mechanisms through which historical experiences are subjectively interpreted. Phenomenology, which prioritizes the intentionality and subjectivity of consciousness, aligns with Weber’s analytical focus on how individuals assign meaning to historical processes. Philosophers such as Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty provide frameworks for analyzing how individuals ascribe significance to historical phenomena within daily life. Traditions, therefore, are not passive repositories of historical data but dynamic processes through which the past is continually reinterpreted and re-experienced by successive generations. The interaction between the lifeworld (Lebenswelt) and historical consciousness, a key concern in phenomenological studies of history, parallels Weber’s analysis of how traditions inform an individual’s perception of their temporal existence. This paper argues that Weber’s methodological imperative, to analyze history as a subjectively constructed experience rather than as a series of objective events or utilitarian systems, converges with phenomenological approaches to historicity.