Like Everest: defamiliarization and uncanniness in media representations of inaccessibility

This paper uses phenomenology to explore recent representations of inaccessible architectural environment featured on major Bulgarian television channels. It is argued that by exposing the environmental restrictions faced by disabled people in their everyday activities, Bulgarian media unwittingly engage in an operation described by formalist literary critics as ‘defamiliarization’. As a result, familiar elements of the everyday, lived world are illuminated as strange. In phenomenological terms, this brings about the experience of ‘uncanniness’. The paper concludes by highlighting the transformative potential inherent in this experience; that is, its power to illuminate as artificial and oppressive the taken-for-granted aspects of the world we inhabit.     

心物关系问题的解决：从胡塞尔到海德格尔

西方哲学史上,自笛卡尔至胡塞尔的认识论范式内,对主观意识如何认识外物的认识论难题,有四种不同的解决方式：实在论、内在观念论、先验观念论以及先验现象学。胡塞尔1906年首次提出了认识批判,它来自康德但又在其先验现象学框架内对康德作了批判。因胡塞尔仍在笛卡尔的认识论范式内,其先验现象学的问题亦受这一认识方式本身的局限。海德格尔提出切近物的首要方式不再是人的理性认识,而是此在的非理性的、情绪性的生存体验的基础存在论,使他走出了认识论框架,建立了新的心与物的关系范式,实现了问题的“范式转换”。     

Divorce and Mid- and Later Life Families: A Phenomenological Analysis with Implications for Family Life Educators

ABSTRACT

A growing number of mid- and later life individuals and families are experiencing divorce and remarriage. Mid- and later life families are those who have begun to or may have launched their adult children. As a result, these families may include in-laws and grandchildren. Limited research has addressed the potentially unique experiences of these families whose lives are made more complex and complicated by divorce, remarriage, or both. The purpose of this article is to examine, from a phenomenological perspective, the lived experiences of individuals and families experiencing divorce in mid- and later life. In so doing, four case studies are presented that represent four common pathways through divorce and remarriage in mid- and later life: career divorced, seasoned divorced, newly divorced, and interrupted career divorced. Using these case studies and our interpretation of them based on a phenomenological approach, we offer implications for family life educators for improving the delivery of educational services to families facing mid- and later life divorce and remarriage.     

生态美学的理论基础——以身-心关系论

生态美学的学科史可上溯到自然美,其生态中心主义观、突破二元论以及认为现象即为美的思想可从杜威和梅洛-庞蒂那里找到理论根据。杜威的自然经验主义以及倡导的公民环境主义等具有生态审美特征,而梅洛-庞蒂的身体现象学旨在寻求身体在世界(环境)中安置的努力则使生态学获得了现象学的支撑。生态美学作为一种新范式,也须要批判性地加以认识。     

对现象学几个关键词的是非分析

德国胡塞尔创始的现象学,以意向指涉的对象为先验意识的现象,因此他的现象学还原并不能真正走向事物本身,而只能是主观经验的表现。由于现象学在发展中广被多家引发,已不是一个前后统一的学说和学派,要归纳其基本特征非常困难。但它的几个基本范畴,却有相对稳定的原始内涵,而且如意向性、现象、未定点等,虽有解释上的错误,但仍具有现实意义,这是本文以此为题进行是非分析研究的主要目的。     

Gender,power and office politics

Abstract

This interpretative study explores the experiences of Taiwanese female clerical workers as they deal with office politics. A hermeneutical phenomenology is used to describe and interpret the participants' experiences. The study shows that powerlessness and frustration result from: (1) structural barriers; (2) behavioral barriers; and (3) accommodation and rationalization. This study has implications for research and practice in international area of women's studies and for the field of international career development education.     

论休谟“观念”的现象学意义

休谟为了找到确定的知识,彻底地贯彻了经验论,将知识奠基于经验之上。他将知觉分为印象和观念,感觉印象是直接呈现于我们心灵中的,“观念”来自于感觉印象。这样他就找到了最确定、最基本的能够作为一切知识之基础的东西。不仅如此,他还悬置一切实体,将认识从关注外部实在回到自我意识中来。胡塞尔现象学倡导“面向事情本身”,要求面向直观呈现现象,回到纯粹意识。于是,休谟拒绝在现象之外看到非现象的态度与胡塞尔“面向事情本身”的纯粹意识,产生了理念的相似性。     

现象学的方法特征——关于现象学与人类学、心理学之间关系的思考

可以通过揭示现象学与人类学和心理学的关系来说明现象学的特殊领域和特殊方法。具体地说,从现象学与人类学的关系来说明现象学的先验还原方法及其必要性;从现象学与心理学的关系来说明本质还原(本质直观、观念直观)方法及其必要性。如果将现象学看作某种意义上的心而上学,那么它一方面有别于实证心理学,另一方面也有别于思辨心理学和超心理学。     

新现象学的情感理论

德国哲学家施密茨提出的新现象学情感理论具有重要的创新意义：(1)把情感理解成客观上把握到的具有空间性的力量、气氛;(2)从身体动力学的角度探讨人的感情、情感;(3)关于情感的空间结构,即把空间区分为相对空间和绝对空间(或叫相对位置空间和绝对位置空间)。施密茨关于情感、表情及其理解的理论,并非是毫无根据的杜撰。     

Social work as art revisited

In this article we revisit 'social work as art', noting that it is just over 20 years since England's book on the subject provided a direction for the profession's early defence against empiricism. Those who picked up the ball handed to them by England tended to focus discussions of social work's 'art' on its soft side, embedding it in notions of 'creativity', 'meaning', 'self-expression', 'intuition' and 'quality', all of which were said to characterise the 'aesthetic dimensions' of social work practice as a counterpoint to the rising tide of hard empiricism, proceduralism and managerialism. Within these 'aesthetic dimensions', proponents of social work as art sought to resolve tensions through advocating a value-based 'artistic' approach to care. Against this we argue that art is struggle and resolution, soft and hard, joy and grief. Further, we posit that social work's art lies not in the social worker as artist but rather in social work as the 'work' of art, which is implicitly a 'non-productivist' endeavour. In a fundamental sense we argue that it is the art of social work and not the social worker that assembles what is practice, that provides bounds and lets everything stand in relation to everything else. This enables us to construct a speculative 'radical agonistics' for social work that draws attention to the relation between art, truth and event. In so doing, we substitute a subjectivist reading of social work as art with an ontological analysis drawing on Heidegger's phenomenology, supplemented by the work of Alain Badiou, to cast social work as art first, as artistic attunement, and second, as an art in the service of a politics of liberation.