Vosyliaus Sezemano filosofija: savęs pažinimo ir estetinės patirties fenomenologija

LTMonografija rašyta 2014-2015 metais, vykdant projektą "Fenomenologija Vosyliaus Sezemano". Sezemano filosofija apmąstoma susiejant ją su XX a. pradžios filosofiniu kontekstu. Atskleidžiami Sezemano filosofijos ryšiai su fenomenologine filosofija, parodoma, kaip jis transformuoja neokantinę pažinimo teoriją. Nagrinėjamos objektyvuoto ir neobjektyvuoto žinojimo, savęs pažinimo, kultūros krizės, estetinės patirties problemos. Monografija skirta visiems besidomintiems Lietuvos filosofijos istorija ir fenomenologija. [Anotacija knygoje]Reikšminiai žodžiai: Vosylius Sezemanas; Filosofai; Platonizmas; Gnoseologija; Fenomenologija; Pažinimas; Estetika; Vosylius Sezemanas; Philosophers; Platonism; Gnoseology; Phenomenology; Cognition; Aesthetics.

EN"The book" examines Vasily Sesemanns philosophy, in which several key themes are prominent: the history of philosophy, phenomenology, and aesthetics; however all three of these themes are integrally connected in his work. The analysis of the problem of phenomenology he ties to the critique of idealism and new possibilities for awareness grounded in examples from classical philosophy. In his analyses of the history of philosophy, Sesemann stresses the importance of ethical and practical knowledge of the self. Moreover, aesthetic analysis is not a secondary result of his philosophical studies, but rather directly relates to the problems of sensory perception, intuition, imagination and self-awareness in his philosophy. The link between phenomenology and aesthetics is the previously mentioned problem of self- awareness, which becomes the seminal theme in Sezemann's philosophy. [...] The reception of phenomenology in Lithuania first and foremost could be associated with an attempt by Vasily Sesemann to incorporate Husserlian phenomenology within his own philosphy of critical realism. Interpreters of Sesemann’s philosophy relate it to the Neo-Kantians, but in my opinion Sesemann's attitude of mind is clearly more associated with the phenomenological rather than Neo-Kantian philosophical tradition. [...] Researchers of Sezemanns philosophy in Lithuania have traditionally linked Sezemanns aesthetics with phenomenology, but have disclosed nothing else on the relationship between aesthetics with phenomenology. In my opinion, there are two reasons why the relationship between Sezemanns aesthetics and the phenomenological tradition remains unanalysed. The first is the impact of the Soviet environment, when Sezemann s aesthetics appeared in 1970 nobody dared to openly identify it as a non-Marxist philosophy, because that would have adversely affected the spread of this philosophy.Therefore people aimed to stress the individuality of Sezemann's philosophy and further emphasized the connection with Marxist materialism and the dialectical method. The second reason is the limited understanding of phenomenology itself. Phenomenology has often been equated with idealistic philosophy or psychological-introspective descriptions of the conciousness. In many ways Sesemann's aesthetics is connected with Moritz Geiger and Nicolai Hartmann's expanded analysis of the aesthetic reality. All three authors are against subjectivism in aesthetics, but they also reject naturalistic and objectivistic explanations of aesthetic phenomena. However, unlike Geiger, Sesemann and Hartmann focus their attention not only on specific aesthetic experiences, but also attempt to reveal the internal relation of intentionality between these experiences and the structure of the aesthetic objects. Sesemann's enacted aesthetic perception analysis reveals a synesthetic overlapping of the senses with the whole, not the dominance of separate elements. Sesemann also emphasizes that aesthetics dives directly into sensory world experience, in which feelings are especially important. Aesthetic expressions in comparison to vital expressions require empathy and a non-objective self-consciousness. The perception of aesthetic expression requires a special kind of sensitivity and openness. Sesemann analizes the aesthetic object and the aesthetic act by emphasizing their connection. This connection relates to what is described in Husserl's phenomenology as the correlation between the intentional object and the intentional act. This correlation can be discovered only by using the phenomenological method: by doing phenomenological reduction.Phenomenological aesthetics must reveal how the structure of aesthetic objects is connected with experience and what are the necessary conditions of aesthetic experience.For that it is necessary to neutralize the objective assumption that beauty is a trait of reality that does not rely on the subject and bracket the belief that beauty is the projection of subjective taste on real things. The phenomenological description reveals beauty as a virtual connection with the valuating subject's intuition and special attitude. Sesemann stress that the objectivity of aesthetic value does not refute the subject's participation. Aesthetic objectivity is the logic of the objects' expressions to the subject itself. Therefore every plane of aesthetic expression has its own connection to sensible experience and meaning. Sesemann distinguishes between the formal and material truth of art in order to reveal the identities of artistic events and describes aesthetic reality through the terms of neutralization and derealization. These terms are used to describe aesthetic reality in Husserl’s, Hartmann's and Ortega у Gasset's philosophy as well. In the book Sezemann's concept of artistic creativity is also compared with Merleau-Ponty's concept of the institution and marks that a work of art has to be understood not as a finished creation, but as a creative act, which implicates the possibility of repetition. The developed concept of creative dynamics in Sesemanns aesthetics is similar to the phenomenology of cultural philosophy. Sesemann, like other representatives of phenomenological aesthetics, interpreted a work of art as an experience of the world. A work of art is created like an institution that is directed both to the experience of the world and the possibility to reveal this experience to another subject. [From the publication]