Bernhard Waldenfels – författare

Originally published in English in 1984, this collection of essays documents a dialogue between phenomenology and Marxism, with the contributors representing a cross-section from the two traditions. The theoretical and historical presuppositions of the phenomenology inaugurated by Husserl are very different from those of the much older Marxist tradition, yet, as these essays show, there are definite points of contact, communication and exchange between the two traditions.

Tanja Stähler and Alexander Kozin’s elegant translation of Bernhard Waldenfels’s Phenomenology of the Alien (Grundmotive einer Phänomenologie des Fremden) introduces the English readership to the philosophy of alien-experience, a multifaceted and multidimensional phenomenon that permeates our everyday experiences of the life-world with immediate implications for the ways we conduct our social, political, and ethical affairs. With impressive erudition Waldenfels weaves in xenological themes from classical philosophy, contemporary phenomenology, literature, linguistics, sociology, and anthropology to address the boundaries of experience that unite and separate human beings, their collectives, their perceptions, and aspirations. While the debate has long raged in German-speaking circles, Waldenfels’s work is largely unavailable to the English-speaking audience, with the only other translation being The Order in the Twilight (1996). Phenomenology of the Alien is a superb introduction to both xenological phenomenology, and the the question of the alien as it has been unfolding in contemporary thought.

"Whoever distrusts the barking of watchdogs, however, does not immediately have to begin howling with the wolves."—Bernhard WaldenfelsIn this seminal work, acclaimed philosopher Bernhard Waldenfels deals with the problem of the nature of order after the "shattering of the world," and the loss of the idea of a universal or fundamental order.Order in the Twilight unites phenomenological methodology with recent work on the theory of order, normativity, and dialogue, as well as structuralism and Gestalt theory. Philosophically stringent, it expresses a more optimistic attitude than much modern philosophy, especially deconstruction.Waldenfels passes the question of order through numerous defining aspects, and concludes that there is not one global order, but rather various conflicting domains of order. Whenever the boundary of a vital or experiential domain is crossed, a discourse speaks at the boundary, not about it, and across a threshold without abolishing it. The rest is rationalization, i.e., an attempt to find a place in the respective order for what is to-be-ordered. But why, the author concludes, should a theory be more unambiguous than reality?Order in the Twilight is an important book at this time, because it may help lift the humanities out of the skeptical, relativistic disarray in which they have been embroiled in recent decades. Waldenfels does not attempt to dictate what reality should be; rather, he is open to any valid evidences. His book offers a solid footing to the human and social sciences as they seek to escape from deconstructive irrationalism.

Originally published in English in 1984, this collection of essays documents a dialogue between phenomenology and Marxism, with the contributors representing a cross-section from the two traditions. The theoretical and historical presuppositions of the phenomenology inaugurated by Husserl are very different from those of the much older Marxist tradition, yet, as these essays show, there are definite points of contact, communication and exchange between the two traditions.

Roland Fischer was inspired by the current political and social events relating t o the topic of refugees to create a collective portrait consisting of over 1,000 separate photographs. Central questions about identity and solidarity, which are the subject of discussion in the socio - political debate, are raised and treated in an artistic manner. The term “refugees” is removed from its abstract context and real people appear in the viewer’s field of vision, complete with name. As regards motif and topic, a collective portrait like this one, for which the artist mounted 1,000 individual por traits, hovers between the individual and the collective. While refugees and migrants are perceived primarily as an abstract collective and an indeterminate mass, especially as a result of the reporting in the media, Roland Fischer and his art project poin t out that this collective is comprised of many individuals with personal, individual fates.

Nie zuvor in seiner Geschichte war der Mensch von einer solch großen Anzahl von Dingen umgeben wie heute. Der Sachbesitz des Einzelnen in der Konsumgesellschaft übersteigt jedes zuvor bekannte Maß. Dank innovativer Technologien verfügen Menschen über immer neue Objekte mit zuvor ungeahnten Fähigkeiten. Obgleich Medien, Werbung und auch die Kulturwissenschaften nicht müde werden, die Ordnung der Dinge, ihre Funktion und nicht zuletzt ihre Rolle als Prestigeobjekte anzupreisen und zu interpretieren, erscheint die Welt der Dinge mehr und mehr als Herausforderung. Im alltäglichen Umgang erweisen sich Dinge als immer komplexer, jeder verstehende Zugang zu ihrer sozialen Rolle ist widersprüchlich, und ihre Beherrschung verlangt dem Individuum wie auch der Gesellschaft außerordentliche Anstrengungen ab. Was machen die Dinge mit den Menschen?Beiträge aus Ethnologie, Philosophie und Wissenschaftsgeschichte sowie Archäologie und Kunstgeschichte befassen sich in diesem Band mit irritierenden Beobachtungen aus der Welt des Materiellen und nutzen dabei das Konzept vom Eigensinn der Dinge. Damit möchte der Band die bislang bekannten Zugänge zu materieller Kultur ergänzen und für ein erweitertes Verständnis der Welt des Materiellen eintreten. Eigensinn stellt dabei die grundlegende Metapher dar, die einen neuen, differenzierten Blick zugleich auf Dinge als einzelne, als Sachensembles und nicht zuletzt auf die conditio humana gestattet.

Drawn from a series of lectures that Bernhard Waldenfels delivered in honour of the Chinese philosopher Tang Chun-I, ""The Question of the Other"" is a collection of seven papers introducing what he calls a new sort of responsive phenomenology. This means that our experience does not start from our own intentions or from our common understanding, but from something that happens and appeals to us, disturbing our projects and forcing us to respond. We only become ourselves by responding to the Other. Hence otherness is not restricted to the otherness of the Other or to that of another order, it rather penetrates ourselves.

Introduces the phenomenology of the Other, taking into account the work of Husserl, Merleau-Ponty, Levinas, Schutz, and Derrida, but mostly going back to things themselves.Drawn from a series of lectures that Bernhard Waldenfels delivered in honor of the Chinese philosopher Tang Junyi, The Question of the Other is a collection of seven papers introducing what he calls a new sort of responsive phenomenology. This means that our experience does not start from our own intentions or from our common understanding, but from something that happens and appeals to us, disturbing our projects and forcing us to respond. We only become ourselves by responding to the Other. Hence otherness is not restricted to the otherness of the Other or to that of another order, it rather penetrates ourselves. We need a peculiar logic of response which includes items like singularity, inevitability, and asymmetry, and which transgresses the limits of common rules. This general perspective will be specified by dealing with crucial issues such as: the power of events which precede our own initiatives; a special kind of time lag which separates what strikes us from our responding; the intertwining of selfhood and otherness within our bodily experience; and violence as an extreme form of refusing and violating the Other's demand. At last it will be shown how otherness penetrates the spatial structures of our lifeworld and how hospitality shapes our being in the world. Otherness means being never completely at home.