The Intersection Of Semiotics And Phenomenology
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The Intersection of Semiotics and Phenomenology
Author: Brian Kemple
language: en
Publisher: Walter de Gruyter GmbH & Co KG
Release Date: 2019-07-08
Many contemporary explanations of conscious human experience, relying either upon neuroscience or appealing to a spiritual soul, fail to provide a complete and coherent theory. These explanations, the author argues, fall short because the underlying explanatory constituent for all experience are not entities, such as the brain or a spiritual soul, but rather relation and the unique way in which human beings form relations. This alternative frontier is developed through examining the phenomenological method of Martin Heidegger and the semiotic theory of Charles S. Peirce. While both of these thinkers independently provide great insight into the difficulty of accounting for human experience, this volume brings these insights into a new complementary synthesis. This synthesis opens new doors for understanding all aspects of conscious human experience, not just those that can be quantified, and without appealing to a mysterious spiritual principle.
Phenomenology and Phaneroscopy: A Neglected Chapter in the History of Ideas
Author: Ahti-Veikko Pietarinen
language: en
Publisher: Springer Nature
Release Date: 2024-10-03
This book shows, for the first time in its full spectrum, the interconnectedness and topicality of two historically and philosophically significant developments of philosophical theories of the study of mind: that of phenomenology of Edmund Husserl and phaneroscopy of Charles S. Peirce. The chapters in this book put the two thinkers in a novel discourse while engaging in mutual scholarship on the large overlaps between the historically two largely independently developed but converging ideas of mind, cognition, consciousness, being, and experience. It is the second volume in a projected series of three, the first of which is Peirce and Husserl: Mutual Insights on Logic, Mathematics, and Cognition (2019). This book consists of three parts. Part I contains studies on the basic elements and the methodological themes of both “phenomenologies” vis-à-vis each other. Part II of the book is dedicated to metaphysical and existential themes. Finally, this book contains a hitherto unpublished selection of connected texts from Charles Peirce concerning phaneroscopy, the theory of definitions, and other related historical, philosophical, and religious themes from 1910, transcribed and introduced by one of the editors of the volume. This book is of interest to scholars in phenomenology, phaneroscopy, and the history of ideas.
In The Break
Investigates the connections between jazz, sexual identity, and radical black politics In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on “The Burton Greene Affair,” exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance—culture, politics, sexuality, identity, and blackness itself—is improvisation. For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten’s concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other. Stylistically brilliant and challenging, much like the music he writes about, Moten’s wide-ranging discussion embraces a variety of disciplines—semiotics, deconstruction, genre theory, social history, and psychoanalysis—to understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten’s ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition