American Phenomenology: Origins and Developments - download pdf or read online

By Sang-Ki Kim (auth.), Eugene F. Kaelin, Calvin O. Schrag (eds.)

THEODORE KISIEL Date of beginning: October 30,1930. place of origin: Brackenridge, Pennsylvania. Date of establishment of optimum measure: PhD. , Duquesne collage, 1962. educational appointments: collage of Dayton; Canisius university; Northwestern college; Duquesne college; Northern Illinois college. I first left the college to pursue a occupation in metallurgical examine and nuclear know-how. yet I quickly came across myself drawn again to the uni­ versity to 'round out' a very really good schooling. It was once alongside this course that i used to be 'waylaid' into philosophy by means of lecturers like H. L. Van Breda and Bernard Boelen. The philosophy division at Duquesne collage was once then (1958-1962) a veritable "little Louvain," and the Belgian-Dutch connection uncovered me to (among different traveling students) Jean Ladriere and Joe Kockelmans, who planted the seeds which ultimately led me to the hybrid self-discipline of a hermeneutics of common technological know-how, and triggered me quickly after commencement to make the 1st of diverse prolonged visits to Belgium and Germany. The recreation to profit French and German led me to the duty of translating the phenomenological literature bearing particularly on normal technology and on Heidegger. the controversy within the sixties was once of a "continental divide" in philosophy among Europe and the Anglo-American global. yet in designing my classes within the philosophy of technological know-how, I evidently gravitated to the works of Hanson, Kuhn, Polanyi and Toulmin with no at the start absolutely understanding why I felt any such robust kinship with them, past their universal anti­ positivism.

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Count von Wartenburg was a friend of Wilhelm Dilthey. During the time at Freiburg, when Heidegger had already assumed Husserl's chair in 1928, Kaufmann worked to develop a phenomenology of art which he could not complete there, since the initial results could no longer be published, except the fragment on "Sprache als Schopjung" (Language as Creation), 1934. By this time Kaufmann's position at Freiburg had become less tenable because of the increasing influence of political authorities at the university.

But he was critical of Husserl's philosophy as a metaphysic of transcendental idealism or 'First Philosophy' which was supposed to serve as the ultimate ground for all sciences. He did not see any significant universal ontology in Husserl's phenomenology. Farber's critical view of Husserl that became so prominent in The Foundation of Phenomenology (1943) was already formed in the twenties when he was in Freiburg working under Husserl. It is interesting to note that after a number of years of study with Husserl, Farber decided not to write his dissertation under Husserl, because his position was too far apart from that of his teacher.

The self-revelation of the secret of the world to the creative artist is a blessing which unlocks the mysteries of the world in a miraculous encounter with the senses (Kaufmann, 1960, 341). It is the artist who possesses that unifying power of sensation which touches upon the boundaries of human knowledge. And it was Kaufmann's firm conviction that there is an essential relationship between the arts and religion, which might touch us abstractly but nevertheless leads to an encounter of a personal nature (Kaufmann, 1960, 183).

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