The general perception regarding the political discourse produced in Romania after 1989 is that the actors (politicians, media, and the public) prioritized a number of themes, which, in spite of their circumstantial dimensions, tended to become strongly established topics. From this perspective, transitional politics became a discursive locus for a number of issues, the actors repeatedly returning to the same ‘well‑worn roads’. Using as corpus samples of discourse from the first electoral campaign post‑1989, the study analyses if and how the controversial theme of the recent historical legacies became a crucial topic during that interval, investigating the main approaches used by the actors and discussing whether or not these settled the frame of interpretation for the following interval. The paper draws on critical and historical discourse analysis, interpreting discourse as both text and context, language and action, discursive event and social situation. It represents an analysis of a topic that, over the years, has become a thematic keystone in political discourse.

This paper offers a detailed reconstruction of an exhibition about the biggest protest rally of the GDR, which took place on November 4, 1989 in Berlin. Drawing from archival sources, as well as interviews, I will outline the exhibition’s design and the intentions of its creators. Subsequently, I will establish correlations with like‑minded, as well as antagonistic efforts to musealise the events later termed the “peaceful revolution”. Their comparison will allow some conclusions about the becoming of the dominant politics of memory today. By pointing to their gaps and blind spots, I want to advocate a more nuanced memory of this decisive period in German history.

This paper examines how Soviet and post‑Soviet history is presented and reflected upon in select works of contemporary artists from Estonia, Latvia and Lithuania. As the contemporary art scenes of these newly independent states developed and joined the global contemporary art circuit, a number of Baltic artists have participated in the recent “historiographic turn” in art. Through the analysis of examples, we look at four approaches employed by these artists when tackling the subject of history seen through personal narratives; history told from the point of view of ethnic/linguistic minorities; a focus on women’s experiences; and a debate on the preservation, removal, and building of commemorative monuments. This paper aims to show how these artists integrate reflections of the Soviet and post‑Soviet experience into the building of complex, inclusive, positive post‑Soviet identities.

Studying the social memory of socialist regimes has generated extensive literature and numerous interpretations with regard to recollections of experiences of the socialist past. Amid such rich literature, this paper takes a novel approach, employing the concept of pop memory to explain the phenomenon of clickbait in the virtual press of Central and Eastern Europe. The media analysed focuses on the former dictators of Romania and was generally made available during 2019, 30 years after the bloody revolution of 1989. My aim is to demonstrate how, by drawing on former socialist propaganda, socialist leaders Elena and Nicolae Ceausescu are transformed in such media, from brutal leaders to pop characters. The results indicate Romanians’ strong “affective positioning” towards the socialist decades, connected to a practice of remembering of the socialist past, that has been previously disregarded, but which is relevant to understand people’s curiosities and the sources they use to replenish their need of information.

By examining the evolution of Husserl’s philosophy from 1901 to 1914, this essay reveals that he possessed a more robust philosophy of gestures than has been accounted for. This study is executed in two stages. First, I explore how Husserl analyzed gestures through the lens of his semiotics in the 1901 Logical Investigations. Although he there presents a simple account of gestures as kinds of indicative signs, he does uncover rich insights about the role that gestures play in communication. Second, I examine how Husserl augmented his theory of gestures in his 1914 Revisions to the Sixth Logical Investigation. Husserl describes some gestures as signals, which are experienced as intersubjective communication, as having a temporally diachronic structure, and as possessing an obliging tendency. Husserl also contrasts gestures to language by showing how language habitually leaves traces on us.

What is the role of gestures within the wider problem of corporeity in Maurice Merleau‑Ponty? How do gestures exemplify and complicate the bodily experience? The aim of this article is to investigate the thematic of gesture in Merleau‑Ponty’s production, with particular attention to the Phenomenology of Perception (1945) and the lessons held at the Collège de France about institution, passivity and nature (1954–60), down to the final indirect ontology inThe Visible and the Invisible. Gestures could be understood as forms (Gestalten), i.e. dynamic structures which express individual and collective behaviours, as well as institutions (Stiftungen), underlying the process of sedimentation and reactivation of meanings. In both cases, gestures have a heuristic or generative function: they shape the individual style in the encounter with the world through “typics” or recurring “motifs”. As a conclusion, the paper argues for the key‑role of gesture, in order to re‑think eidetic intuition as the grasping of operative and emotional essences.

This paper analyses Merleau‑Ponty’s gestural theory focusing on the ontological and epistemological role attributed to the expressive movements of the lived body. The first section argues that Merleau‑Ponty’s phenomenology recognises movement as a primordial phenomenon from which language and thought emerge. This theorisation allows us to identify a type of logos that grants a specific content, sense and value to bodily movements, here conceptualised as a “kin(aesth)etic logos”. The second section of the paper offers a categorisation of different gestures—perceptive, reflexive, habitual and verbal gestures—which show how the kin(aesth)etic logos is actualised in a myriad of daily activities.

This paper seeks to develop the connection in Merleau‑Ponty’s later ontology between the gesture and language. There is a concerted effort in Merleau‑Ponty’s “middle period” to illustrate that a linguistic system of signs is internally constellated by the body and its movement. This effort seems to give way to an ontology of flesh in the later period. On closer consideration, however, this ontology and the linguistic system of signs—both “diacritical”—are mutually imbricated. This highlights the crucial importance of separation, deviation, and difference in Merleau‑Ponty’s ontology. A question remains, however: how can the body, and in particular the gesture, be the very site of separation rather than of an initiation or identification? I argue that, for Merleau‑Ponty, every gesture contains something internally antagonistic to it, something that cannot be grasped or moved. In this sense, the gesture is an “implex,” both internally resistant to and productive of signification. It is, in short, the site of a symbolization. In light of this, in the conclusion I reconsider the final passages from “Cézanne’s Doubt” where Merleau‑Ponty discusses Freud’s “hermeneutical musings” on Leonardo, and the passages from “Indirect Language and the Voices of Silence” and the nature lectures where he discusses the painter’s brushwork.

In this paper, relying on both phenomenology and psychoanalysis, I introduce the concept of transbodily intentionality with the aim of exploring the significance of bodily expression for subjective constitution. The role of the body for the constitution of subjective experience becomes increasingly important in phenomenological analysis. This faces us with the challenge of understanding the intersubjective relevance of bodily processes together with the genetic turn of phenomenology. On this background, the revaluation of the concept of gesture comes into light. The meaning of the gesture cannot be framed in an exclusively subjective context, but rather requires a communicative and intersubjective horizon.

Section I details Husserl’s insight into style and how a person’s individual style is played out in affect and action and in the two‑fold articulation of perception and “the kinestheses,” both of which are integral to gestural communication. Section II details how the evolutionary perspectives of Darwin and linguistic scholars complement Husserl’s insights into the animate realities of gesture and bring to light further dimensions of human and nonhuman gestural practices and possibilities through extensive experiential accounts that document the essential role of movement and thinking in movement in animate lives. Section III focuses on critical oversights by prominent phenomenologists who, rather than basing their studies in the rigors of phenomenological methodology, write of “what it is like” with respect to experience or give preferred opinions as in “consciousness of my gesture [...] can tell us nothing about movement.”

In this article, we propose to reconceptualize phenomenology in a relational way. Instead of taking subjective consciousness as the starting point for the constitution of meaning, we consider meaning (as well as subjects and subjectivities) as something that is produced in social relations, or more precisely, in communicative actions. In order to explore how this works we empirically study mutual gaze as a critical case. At first sight, the reciprocity that arises when two subjects look into each other’s eyes and perceive how they look and are being looked at reciprocally seems to be “pure,” i.e. free of any mediation by language, gestures or other objectivations. It turns out, however, that mutual gaze unfolds, albeit highly ambivalently and fluidly, as an “object in time”. In contrast to non‑subjectivist approaches, we argue that we need some sort of subjectivity to understand phenomena such as mutual gaze. However, we also need to understand its embeddedness in cultures as well as in social relations. This is what Relational Phenomenology means.

This article aims to discuss the gestural character of Chopin’s pianistic writing. We will focus on the set of Etudes pour piano. We expect to show how the notion of musical expression in Romanticism is dependent of a notion of expressive body always in the limit of decomposition. This could show us how musical expression is a privileged space for a better understanding of the dialectical relationship between form and formless.

This article casts light on Marc Richir’s remarkable and yet poorly known interpretation of the analyses of animality that Martin Heidegger develops in The Fundamental Concepts of Metaphysics: World, Finitude and Solitude. It shows that this interpretation unfolds as a two‑step critical revision of Heidegger’s analyses within the framework of Richir’s neo‑phenomenological project. On the one hand, Richir aims to offer the “right” interpretation of the cybernetic and grammatological history of life told by Jacques Derrida, by measuring it against Heidegger’s theory of the organism. On the other hand, Richir rewrites the limits of Heidegger’s conception of animality in light of the overview of contemporary ethological research provided by Konrad Lorenz.

Current dialogues in neuroscience are limited to phenomenological psychology plus neuroscience, or neurophenomenology. Within these dialogues, transcendental phenomenology is largely expelled. This article proposes a transcendental phenomenology of and through neuroscience. The “phenomenology‑of ” neuroscience is a philosophy that refuses to view the Experience‑Body Relation and Life‑Non‑Life Ambiguity as if they were predetermined, unintelligible, metaphysical gaps. Instead, it attempts to understand them through a correlative intentional experience involving activities of neuro‑scientific investigation and their pre‑theoretical prerequisites. This establishes the indispensability of self‑report and highlights the failings of two naturalistic interpretations of intentionality (representationalism and enactivism). A “phenomenology‑through” neuroscience is thus justifiable and necessary, as illustrated by the example of memory consolidation during sleep. The article finds that as phenomenology‑plus, neurophenomenology can solve its problems only through a mutually constraining “phenomenology‑of ” and “‑through”.

In this paper, I offer an analysis of the thought experiment “Two worlds for one ego” in which Husserl imagines an ego that lives two alternated lives. The thought experiment is designed to question the apodicticity of the world’s singularity. If the ego of the thought experiment is a fully concrete social subject, then the world’s singularity proves to be apodictic. If we were to, conversely, conduct the same experiment with an abstract ego, then the counter‑scenario of a doubling of the world would be tenable if and only if this subject was the sole subject of both worlds. This means, in turn, that a more concrete phenomenological conduction of the experiment demonstrates the limits of methodological solipsism. The paper is tripartite. Firstly, I set out the experiment’s terminological terrain and discuss the systematic questions addressed as well as the phenomenological methods involved. In a second step, I analyse Husserl’s conduction of the thought experiment. Finally, I discuss some of the experiment’s possible applications to anthropology.

The aim of this paper is to show that we are entitled to see in Schütz’s article “Equality and the Social Meaning Structure” the proposal for a formal analysis of group membership understood as a kind of We-experience irreducible to pure We-relationships (Wirbeziehung). First I argue that such an account defines the experience of group membership as a “situation definition process”. Then I show the relevance of this approach for the description of membership experiences and current debates on Collective Intentionality. Finally, I point to its unclarified conceptual presuppositions—such as the at­tribution of situations to groups—, and propose an interpretative solution by drawing on the notions of “social situation” and community of relevances from The Structures of the Life-World.

The first part of this paper aims to highlight the analogies between Schutz’s vision of the natural attitude and Wittgenstein’s vision of a phenomenon that concerns the same problematic field, i.e. certainty, the belief of common sense that is free of all doubt, that the world “out there” is as it appears, absolutely real. These certainties form the basis, the foundation of language games and therefore of knowledge in general and in its entirety. This foundation is unfounded and yet indispensable. The second part of the paper examines an important topic analysed by Wittgenstein, related to the aforementioned problem: the language transposition of pre-predicative, pre-reflective and non-propositional certainties, the cornerstones of which are “hinge propositions”, whose hybrid nature can be identified in the shift from empirical propositions to grammatical rules.

Today’s fast-moving, (new) media lifeworld embodies many of the metaphors of its analog predecessors – including those of warfare and conflict. The metaphor of warfare is used to describe everything from corporate marketing strategies to political campaigns, often with harmful consequences. In one way of exploring the front lines of the resulting war on truth, we describe some lessons learned from the experience of military veterans who have actually endured the liminality of combat, and who emerge with what is increasingly termed moral injuries. We use their experience as an analogy for competing (ante)narratives in cyberspace, where objective standards of truth and facticity are apparent casualties, and where fake news is emerging as victorious. We then apply models of social construction, specifically the practical theory of the Coordinated Management of Meaning (CMM), and the metaphor of jazz improvisation in the context of Schutz’s lifeworld phenomenology as possibly useful, helpful, and hopeful ways of acting into the complexity of truth together.