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Four Core Concepts in Psychiatric Diagnosis
Full text link: In the present article, we aimed at describing the diagnostic process in Psychiatry through a phenomenological perspective. We have identified 4 core concepts which may represent the joints of a phenomenologically oriented diagnosis. The "tightrope walking" attitude refers to the psychiatrist's ability to swing between 2 different and sometimes contrasting tendencies (e.g., engagement and disengagement). The "holistic experience" includes all those intuitive, nonverbal, and pre-thematic elements that emerge in the early stages of the clinical encounter as an emanation of the atmospheric quality of the intersubjective space. The "co-construction of symptoms" regards the hermeneutic process behind psychiatric symptoms, involving both the patient as a self-interpreting agent and the clinician as a translator of his/her experience. Finally, by the "evolving typification" we mean that the closer the relationship becomes with the patient, the more specific and nuanced becomes the typification behind psychiatric diagnosis. Each of these concepts will be accompanied by an extract from a clinical case deriving from one of the authors' most recent clinical experiences
Il problema dell'infinito nell'orizzonte fenomenologico husserliano
Full text linkThe aim of this work is to elucidate the meaning of 'infinity' from a phenomenological perspective, especially within the framework of Husserl’s theory of knowledge and perception.
In the first chapter I firstly sketch the basics of Husserl’s phenomenology of knowledge. Thereafter I delve into the questions concerning the reduction to the 'reellen Bestand', which is hold to be the ground of verification of purports in the "Logical Investigations". I then propose an interpretation of the categorial intuition as directed to the laws an 'Auffassung' follows when it organizes the sensual contents related to an object.
In the second chapter I briefly expound Husserl’s phenomenology of perception and I show how perception can be hold as an intentional experience. Afterwards I concentrate on the constitution of space and of thing (Ding). I show in which sense the structures of both constitutions are dependent on the sensations and kinesthesis (i.e. proprioceptions) experienced by the subject.
In the third chapter I finally deal with the problem of infinity. I face some recent interpretations of Husserl’s theory of perception according to which infinity is somehow intertwined in and even intuited through thing-perception (Dingwahrnehmung). I claim that thing-perception can not be hold as an access to infinity, i.e. no thing-perception is a perception of something as infinite. Following I show how some other kinds of sensual experience can correspond to a perception of infinity. On the base of some Husserl’s manuscripts and through a brief confrontation with Kant’s Analytic of the Sublime I sustain that infinity can be sensually intuited in the senses of limitlessness and of formlessness. I then show that categorial intuition is necessary in order to constitute the meaning of mathematical infinity, i.e. an endless whole of discrete parts. In fact, the idea of such an “entity” is dependent on the capacity of grasping the law of a serial production.
In the conclusion I establish that mathematical infinity is the only kind of infinity which can not find any sensual correlate. This is due to the fact that it is a meaning composed by two contradictory prescriptions: 'reach the limitless' and 'go on without an end'. I consequently argue that the idea of infinity is grounded on sensual experience and does not need any supernatural origin.Scopo del presente lavoro è la chiarificazione del significato di 'infinito' all’interno di una prospettiva fenomenologica, in particolare nel quadro della teoria della conoscenza e della percezione di Husserl.
Nel primo capitolo descrivo sommariamente i tratti fondamentali della fenomenologia husserliana della conoscenza. Dopo di che approfondisco le questioni concernenti la riduzione al 'reellen Bestand', il quale nelle "Ricerche logiche" è considerato il terreno di verificazione delle intenzioni. Quindi propongo un’interpretazione dell’intuizione categoriale come diretta alle leggi seguite da un’'Auffassung' nell'organizzazione dei dati sensoriali relativi a un oggetto.
Nel secondo capitolo espongo brevemente la fenomenologia della percezione di Husserl e mostro in che modo la percezione si possa considerare un’esperienza intenzionale. Dopo di che mi concentro sulla costituzione dello spazio e della cosa (Ding). Mostro in che senso le strutture di entrambe le costituzioni dipendono dalle sensazioni e dalle cinestesi che un soggetto esperisce.
Nel terzo capitolo giungo infine ad affrontare il problema dell’infinito. Mi confronto dapprima con alcune recenti interpretazioni della teoria della percezione di Husserl secondo le quali l’infinito è in qualche modo connesso con - e persino intuito attraverso - la percezione di cosa (Dingwahrnehmung). Sostengo che la percezione di cosa non può essere considerata un accesso all’infinito, vale a dire che nessuna percezione di cosa è percezione di qualcosa in quanto infinito. Sulla base di alcuni manoscritti di Husserl e attraverso un confronto con l’Analitica del sublime di Kant, giungo a sostenere che l’infinito può essere intuito a livello sensibile nei sensi di illimitato e di informe. Quindi mostro che l’intuizione categoriale è necessaria al fine di costituire il significato dell’infinito matematico, vale a dire un intero senza fine di parti discrete. Infatti, l’idea di una tale “entità” dipende dalla capacità di cogliere la legge di una produzione seriale.
Nelle conclusioni rilevo che l’infinito matematico è l’unico tipo di infinito che non può trovare un correlato sensibile. Questo dipende dal fatto che esso è un significato composto da due prescrizioni contraddittorie tra loro: 'raggiungi l’illimitato' e 'vai avanti senza fine'. Conseguentemente affermo che l’idea di infinito è fondata sull’esperienza sensibile e che non necessita di alcuna origine sovrannaturale
Il concetto di monade nella fenomenologia = The concept of monad in phenomenology
Full text linkThe concept of "monad" in phenomenology, particularly in Husserl's thought, is both intriguing and controversial. On one hand, the use of the term seems obvious, given its grounding in research on intersubjectivity; on the other, it presents problems related to its metaphysical connotations, risking the suggestion of a solipsism that Husserl himself sought to avoid. Husserl retrieves the monad, typically associated with Leibniz's metaphysics, to explore subjectivity as a dynamic and complex unity, moving beyond a static view of consciousness. In this context, the monad is seen as a way to express the relationship between ego, cogito, and cogitatum, opening up a deeper understanding of experience. Despite recent critiques, it is unclear whether Husserl's monadology can genuinely evade the metaphysical implications tied to Leibniz's concept. Therefore, it is essential to interpret Husserl's monad primarily in epistemological terms, using it to address metaphysical questions without reaching definitive answers. A schematic evaluation of the concept of the monad in Husserl may shed light on its meaning, limits, and implications within the phenomenological context
Pure experience revisited: A critical reassessment of Nishida Kitaro's radicalization of William James' empiricism
Full text linkIn this paper, we will revisit the relation between the respective conceptions of pure experience of Nishida Kitaro and William James. As various authors have previously shown, comparing Nishida and James can not only help us better understand both of their specific understandings of pure experience, and consequently its position within their respective enterprises, but also give a platform with which to see how these two authors could contribute to contemporary discussions on philosophical methodology. However, despite the long history of comparative research on these two thinkers, there is still no consensus about the extent to which Nishida's philosophy actually resembles James' work at all. Was Nishida's interest in James' work found only in superficial similarities between two authors interested in overcoming the subject–object distinction? Or did Nishida attempt to somehow develop or radicalize James' work, taking his notion of pure experience into the realm of religion and metaphysics? In this contribution, we will agree with previous authors who have argued that Nishida is best understood as trying to go beyond or develop James' work. However, we will make this claim with the caveat that James had good reason not to take the avenues Nishida pursued, and that Nishida's attempt to radicalize some ideas in James may have led to some difficult points within his early philosophy
A Phenomenological Assessment of Mulla Sadra’s View of the Individual Mind
Full text linkThis article examines the theory of mind proposed by the esteemed Islamic philosopher, Mulla Sadra, through a phenomenological lens. We specifically focus on how Mulla Sadra’s framework addresses the question of the individual human mind and its intricate relationship with the body. While Mulla Sadra presents concepts that resonate with some of Husserl’s ‘monadological-phenomenological’ reflections, we argue that strict adherence to phenomenological methodology precludes acceptance of the metaphysical implications he draws concerning the individual mind’s connection to the totality of existence, including a presumed divine reality. Nonetheless, our comparative analysis with Mulla Sadra’s thought illuminates key aspects of Husserlian monadology and highlights the limitations of a rigorously phenomenological approach to purely metaphysical inquiries
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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