KŪNAS GYVENAMAJAME PASAULYJE.

The article deals with the relation between the body and the living environment. According to the author, the body is not only the centre of orientation in the environment, but also a factor of creative interaction with it. While we are creating our own living environment, the role of the senses is...

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Publicado en:Problems / Problemos Vol. 73; pp. 72 - 83
Autor principal: Kačerauskas, Tomas
Formato: Artículo
Publicado: Vilnius University 2008
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Acceso en línea:Ver este registro en EBSCOhost
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        10.15388/Problemos.2008.0.2017
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        atl: KŪNAS GYVENAMAJAME PASAULYJE.
      aug:
        au: Kačerauskas, Tomas
        affil: Vilniaus Gedimino technikos universiteto, Filosofijos ir politologijos katedra, Saulėtekio al. 11, LT-10223 Vilnius
      su:
        Human body
        Life
        Culture
        Creative ability
        Phenomenology
        Philosophy
      sug:
        subj:
          Human body
          Life
          Culture
          Creative ability
          Phenomenology
          Philosophy
      keyword:
        body
        creation
        environment (Umwelt)
        eros
        existence
        phenomenology
        aplinka (Umwelt)
        egzistencija
        eros
        fenomenologija
        kūnas
        kūryba
      ab:
        The article deals with the relation between the body and the living environment. According to the author, the body is not only the centre of orientation in the environment, but also a factor of creative interaction with it. While we are creating our own living environment, the role of the senses is analysed according to the phenomenology of Husserl and Merleau-Ponty. On the grounds of Levinas' concept it is shown that the body inspires the ethical relationships between participants of the environment which is created together with them as well. The body is interpreted in the context of phenomenological and hermeneutical cultural studies where culture is explained as the development of the existential project (Heidegger). The author raises a thesis that the body is a factor of existential creation as an interaction between our environment and ourselves. The article deals with the relation between embodiment and the other forms of human creative activity such as naming and limiting. The body serves as a factor of interaction among different forms of creative activity. On the grounds of Plato's and Aristotle's philosophy it is asserted that the erotic body gives a creative movement to the interaction between man and his environment. Our becoming in an environment, which we embody as our living space, forms the content of culture as an existential creation. There are analysed the principles of both activity (creativity) and passivity (suffering) of the body. The author shows a relation between Husserl's passive synthesis and Levinas' passivity in the presence of the Other. The creativity (and culture in general) of a participant of the living environment is conditioned by the interaction between activity and passivity. In this process, the identity of this participant is formed. The article deals with a combined model of both the circle and the layers. Thereby the author aims to substantiate the thesis that existential creation is a co-action of the different layers of the living environment. The phenomenology of culture here is developed as an interaction of different existential layers (ethical, aesthetical, technical) in which the body plays an important role. The theses raised in the article are illustrated with examples of multilayer art (films).
        Straipsnyje nagrinėjamas kūno ir gyvenamosios aplinkos santykis. Siekiama parodyti, kad kūnas -- ne tik orientavimosi aplinkoje centras, bet ir kūrybinės sąveikos su ja veiksnys. Remiantis Husserliu ir Merleau-Ponty, analizuojamas juslių vaidmuo mums kuriant savo gyvenamąją aplinką. Su Levino pagalba parodoma, kad kūnas inspiruoja ir etinius santykius tarp aplinkos dalyvių, kartu su kuriais kuriama ši aplinka. Kūniškumas interpretuojamas kultūros fenomenologijos ir hermeneutikos kontekste, kur kultūra aiškinama kaip egzistencinio projekto plėtra. Iškeliama tezė, kad kūniškumas yra egzistencinės kūrybos veiksnys kaip mūsų kūno ir aplinkos sąveika. Nagrinėjamas santykis tarp įkūnijimo ir kitų žmogaus kūrybinio aktyvumo pavidalų: įvardijimo, įribinimo, įtikrovinimo. Tvirtinama, kad kūniškumas tarnauja kaip sąveikos tarp įvairių kūrybinio aktyvumo pavidalų veiksnys. Remiantis Platonu ir Aristoteliu teigiama, kad erotiškas kūnas suteikia žmogaus ir jo aplinkos sąveikai kūrybinį judrumą. Pasak autoriaus, mūsų tapsmas aplinkoje, kurią įkūnijame kaip savo gyvenimo erdvę, sudaro kultūros kaip egzistencinės kūrybos turinį. Nagrinėjami ne tik kūno aktyvumo (kūrybiškumo), bet ir pasyvumo (kančios) pradai. Analizuojamas santykis tarp Husserlio pasyviosios sintezės ir Levino pasyvumo Kito akivaizdoje. Teigiama, kad gyvenamosios aplinkos dalyvio kūrybiškumo (ir apskritai kultūros) sąlyga -- aktyvumo ir pasyvumo sąveika, kuri yra jo tapatumo kalvė. Pasitelkiamas sudėtinis rato ir sluoksnių modelis. Siekiama pagrįsti egzistencinės kūrybos kaip įvairių gyvenamosios aplinkos sluoksnių sąveikos tezę. Kultūros fenomenologija plėtojama kaip įvairių egzistencinių sluoksnių (etinio, estetinio, techninio) sąveika, kur kūnas atlieka svarbų vaidmenį. Iškeltos tezės iliustruojamos daugiasluoksnio meno (filmų) pavyzdžiais.
      pubtype: Academic Journal
      doctype: Article
      src: R
    language: Lithuanian
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