Volodymyr Prykhodko

B a c k g r o u n d. The purpose of this article is to reveal the concept of philosophical cosmology as a new metaphysics based on ideas proposed by Gilles Deleuze in his work "The Logic of Sense". For this, it is necessary to get rid of the interpretation of philosophical cosmology as an exclusively philosophical-scientific discipline and begin to perceive it as a basic theory of order that can replace ontology. To implement this strategy, Deleuze turns to the ideas of the philosophy of Stoicism. This choice is primarily due to the first concept of sense (lekton theory), as well as the doctrine of space (khora) and the living, renewable cosmos (palingenesia). The relevance of Stoicism is reinforced by the historical and civilizational perspective, where the emergence and renewal of interest in the Stoics' thoughts corresponds to periods of violent crisis. M e t h o d s. The hermeneutic analysis of the works of Gilles Deleuze, the Stoics and researchers of Stoicism makes it possible to include the concept of philosophical cosmology in the foundations of spatial phenomenology which is implemented in the topographic method of researching its main subject, which is the world, and culture in particular. R e s u l t s. In this way, the philosophical cosmology of Gilles Deleuze provides grounds for a better understanding of the cultural and intellectual situation of today, which includes information overload and the essential uncertainty of the prospects of civilizational development, in which culture appears more as a spontaneous performative formation than a logical projected system of valid norms and rules. C o n c l u s i o n s. That is why philosophical cosmology has applied value, as it responds to the spatial and performative turn in modern culture.

Purpose. The article suggested for consideration is aimed at clarifying the shift in human perception from the spatial turn announced by Michel Foucault, to a performative turn. The performative turn has an anthropological footing. It is based on the all-round investigation of the body’s principal role for cultural existence, as a result of a reverse reaction to artificial conceptual gap between space and body, which basically means ignoring the embodiment theme. An example of such theoretical deformation was Edmund Husserl’s “anthropology phobia” revealed and thoroughly analysed by Hans Blumenberg in his critical works. Originality of the approach applied in this research, first and foremost, demonstrates not an abstract phenomenological conception as a theoretical construct, but a phenomenological activity itself, as well as practical work expressing antepredicative experience and solving the problems arising in this complicated process. Applying the Blumenberg’s analysis also allows to peep in the sideline notes of Edmund Husserl himself, which, for their part, acquire special meaning in relation to such a practical turn. Conclusions show the following state of affairs demonstrated by the anthropological and performative shift towards the body theme: 1) absolutisation of space without mentioning its relation to body experience is unreasonable and groundless, like in Husserl’s “anthropology phobia ”; 2) since the ground itself is a metaphorical anthropology basis, anthropology can reveal the structural conditions of perception due to thematic fronting of embodiment; 3) this gives anthropology some compensational features, to avoid false culture and nature dualism; 4) so, the space and body relationship is expressed by the Vehikel-phenomenon of the body itself, by placing, arranging and depicting, and thus replacing something missing and unavailable for direct contemplation, by revealing the spatial infrastructure for object perception, creating the presence conditions and metaphorically marking the contemplation boundary; 5) the depicting arrangement is at the same time a bodily performance, a play, staging and performing, which gives an aesthetic, poetic and emphatic impact on the use of philosophy language, in our case, on the way a phenomenology philosopher works with the language.

Purpose. The article suggested for consideration is aimed at clarifying the shift in human perception from the spatial turn announced by Michel Foucault, to a performative turn. The performative turn has an anthropological footing. It is based on the all-round investigation of the body’s principal role for cultural existence, as a result of a reverse reaction to artificial conceptual gap between space and body, which basically means ignoring the embodiment theme. An example of such theoretical deformation was Edmund Husserl’s “anthropology phobia” revealed and thoroughly analysed by Hans Blumenberg in his critical works. Originality of the approach applied in this research, first and foremost, demonstrates not an abstract phenomenological conception as a theoretical construct, but a phenomenological activity itself, as well as practical work expressing antepredicative experience and solving the problems arising in this complicated process. Applying the Blumenberg’s analysis also allows to peep in the sideline notes of Edmund Husserl himself, which, for their part, acquire special meaning in relation to such a practical turn. Conclusions show the following state of affairs demonstrated by the anthropological and performative shift towards the body theme: 1) absolutisation of space without mentioning its relation to body experience is unreasonable and groundless, like in Husserl’s “anthropology phobia ”; 2) since the ground itself is a metaphorical anthropology basis, anthropology can reveal the structural conditions of perception due to thematic fronting of embodiment; 3) this gives anthropology some compensational features, to avoid false culture and nature dualism; 4) so, the space and body relationship is expressed by the Vehikel-phenomenon of the body itself, by placing, arranging and depicting, and thus replacing something missing and unavailable for direct contemplation, by revealing the spatial infrastructure for object perception, creating the presence conditions and metaphorically marking the contemplation boundary; 5) the depicting arrangement is at the same time a bodily performance, a play, staging and performing, which gives an aesthetic, poetic and emphatic impact on the use of philosophy language, in our case, on the way a phenomenology philosopher works with the language.