《现象学导论》一书简洁明快，论理深入浅出，就如同索科拉夫斯基教授讲课的风格一样。追求思想的清晰性一直是哲学乃至现象学的最高境界，胡塞尔曾说过没有思维的明晰性，他就没法活下去；把哲学从黑格尔式的繁琐概念思辨返回到思维的自明呈现，原本是胡塞尔创立“直面实事本身”的现象学方法的主旨。就这一点而言，索科拉夫斯基教授恰恰是顺应了现象学的原初精义。索科拉夫斯基教授一直在天主教大学开讲胡塞尔的《逻辑研究》和《笛卡尔沉思》，对胡塞尔及现象学本文数十年的教学与研究，成为这本导论性著作的自然朴实之风的前提和基础。这本《导论》梳理和诠释了现象学的主题，诸如“意向性”、“形式结构”、“自我”、“时间性”、“生活世界”、“主体间性”和“本质直观”等等，将纷繁复杂的现象学思想系统地纳入到这些主题之中，思想深刻而又条理明晰。

Written over a span of more than two decades, the essays by Iris Marion Young collected in this volume describe diverse aspects of women's lived body experience in modern Western societies. Drawing on the ideas of several twentieth century continental philosophers--including Simone de Beauvoir, Martin Heidegger, Luce Irigaray, Julia Kristeva, and Maurice Merleau-Ponty--Young constructs rigorous analytic categories for interpreting embodied subjectivity. The essays combine theoretical description of experience with normative evaluation of the unjust constraints on their freedom and opportunity that continue to burden many women. The lead essay rethinks the purpose of the category of "gender" for feminist theory, after important debates have questioned its usefulness. Young's classic essay, "Throwing Like a Girl," is reprinted here, along with a comment of the impact of that essay twenty years later. Newer essays include reflection on the meaning of being at home, and the need for privacy in old age residences. Other essays analyze aspects of the experience of women and girls that have received little attention even in feminist theory--such as the sexuality of breasts, or menstruation as punctuation in a woman's life story. Young describes the phenomenology of moving in a pregnant body and the tactile pleasures of clothing. While academically rigorous, the essays are also written with engaging style, incorporating vivid imagery and autobiographical narrative. On Female Body Experience raises issues and takes positions that speak to scholars and students in philosophy, sociology, geography, medicine, nursing, and education.

《生活世界现象学》作者埃德蒙德·胡塞尔在西方现代哲学中是一位非常严肃而富有责任感的哲学家。他毕生都在孜孜不倦、锲而不舍地在人类思想史上创造一门新的哲学学科——现象学。他的学说不仅影响了许多哲学流派，而且还影响到心理学、社会学、历史学和宗教等领域。《生活世界现象学》一书概括了胡塞尔现象学的所有基本问题：从感知行为类型的特殊分析到内时间意识现象学的核心内涵、从交互主体性的构造研究到生活世界问题的提出，对研究现象学的学者以及对现象学感兴趣的朋友很有启示，人们可从胡塞尔的学说中，依己所需，搜精取真。

In Diminished Faculties Jonathan Sterne offers a sweeping cultural study and theorization of impairment. Drawing on his personal history with thyroid cancer and a paralyzed vocal cord, Sterne undertakes a political phenomenology of impairment, in which experience is understood from the standpoint of a subject that is not fully able to account for itself. He conceives of impairment as a fundamental dimension of human experience, examining it as both political and physical. While some impairments are enshrined as normal in international standards, others are treated as causes or effects of illness or disability. Alongside his fractured account of experience, Sterne provides a tour of alternative vocal technologies and practices; a study of “normal” hearing loss as a cultural practice rather than a medical problem; and an intertwined history and phenomenology of fatigue that follows the concept as it careens from people, to materials science, to industrial management, to spoons. Sterne demonstrates how impairment is a problem, opportunity, and occasion for approaching larger questions about disability, subjectivity, power, technology, and experience in new ways. Diminished Faculties ends with a practical user’s guide to impairment theory.

In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself.
These critical, theoretical, and personal essays serve as a guide to developments in nonmainstream media art during the past ten years—sexual representation debates, documentary ethics, the shift from analog to digital media, a new social obsession with smell. Marks takes up well-known artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known film, video, and digital artists.
From this emerges a materialist theory—an embodied, erotic relationship to art and to the world. Marks’s approach leads to an appreciation of the works’ mortal bodies: film’s volatile emulsion, video’s fragile magnetic base, crash-prone Net art; it also offers a productive alternative to the popular understanding of digital media as "virtual" and immaterial. Weaving a continuous fabric from philosophy, fiction, science, dreams, and intimate experience, Touch opens a new world of art media to readers.

Humanity has sat at the center of philosophical thinking for too long. The recent advent of environmental philosophy and posthuman studies has widened our scope of inquiry to include ecosystems, animals, and artificial intelligence. Yet the vast majority of the stuff in our universe, and even in our lives, remains beyond serious philosophical concern. In "Alien Phenomenology, or What It's Like to Be a Thing," Ian Bogost develops an object-oriented ontology that puts things at the center of being--a philosophy in which nothing exists any more or less than anything else, in which humans are elements but not the sole or even primary elements of philosophical interest. And unlike experimental phenomenology or the philosophy of technology, Bogost's alien phenomenology takes for granted that "all" beings interact with and perceive one another. This experience, however, withdraws from human comprehension and becomes accessible only through a speculative philosophy based on metaphor. Providing a new approach for understanding the experience of things "as" things, Bogost also calls on philosophers to rethink their craft. Drawing on his own background as a videogame designer, Bogost encourages professional thinkers to become makers as well, engineers who construct things as much as they think and write about them.

Sensual memory - the physical awareness of touch, smell, and bodily presence - is a vital link to home for people living in diaspora from their culture of origin. How can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? In "The Skin of the Film" Laura U. Marks offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a postcolonial, transnational world. Much of intercultural cinema, Marks argues, has its origin in silence, in the gaps left by recorded history. Filmmakers seeking to represent their native cultures have had to develop new forms of cinematic expression.Marks offers a theory of 'haptic visuality' - a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste - to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory. Using close to two hundred examples of intercultural film and video, she shows how the image allows viewers to experience cinema as a physical and multisensory embodiment of culture, not just as a visual representation of experience. Finally, this book offers a guide to many hard-to-find works of independent film and video made by Third World diasporic filmmakers now living in the United States, Great Britain, and Canada. "The Skin of the Film" draws on phenomenology, postcolonial and feminist theory, anthropology, and cognitive science. It will be essential reading for those interested in film theory, experimental cinema, the experience of diaspora, and the role of the sensuous in culture.

《从绝对自我到绝对他者:胡塞尔与列维纳斯哲学中的主体际性问题》通过对胡塞尔的先验主体际性论和列维纳斯的他我关系说的阐释，以显明为主体际性问题所折射出的主体性哲学的内在困境。胡塞尔的先验主体际性论可被视为在主体性哲学的框架中展开的，关于主体之间关系问题的最为系统与卓越的表达。从严格的先验立场出发，胡塞尔主要致力于对陌生主体(他人)以及主体共同体的意义在先验自我中的构造的意向性分析，并对一切社会性本质作出先验的解释。与胡塞尔不同，列维纳斯一开始就拒绝构造性的先验自我与先验他我构造论。但由于列维纳斯将自我界说为与他人绝对分离的原子式个体，主体际性问题仍然以一种与胡塞尔遥远相关的方式出现，并在对伦理化的主体性哲学之可能性的探寻中，展示出一种对绝对自我负责的追求。正是在这种追求中，我们不仅能够见到胡塞尔与列维纳斯这两位气质、兴趣和教养都大相径庭的哲学家在方法论之外的一种精神上的联系，而且能够进一步领略到为主体际性问题所揭示出的主体性哲学之内在困境的伦理蕴含和精神深度。

"The Tactile Eye" expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile - a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the skin, and reverberates in the body. Barker combines analysis of embodiment and phenomenological film theory to provide an expansive description of cinematic tactility. She considers feminist experimental film, early cinema, animation, and horror, as well as classic, modernist, and postmodern cinema; films from ten national cinemas; and, work by Chuck Jones, Buster Keaton, the Quay Brothers, Satyajit Ray, Carolee Schneemann, and Tom Tykwer, among others.

Often neglected as an influence on phenomenology, Bergson's thought has resurfaced and brought challenges to phenomenology. In a series of original essays and translations, leading scholars of contemporary continental philosophy seek to redress this oversight and inaugurate a long over due dialogue and yet pertinent to the future of continental philosophy. This thematically focused collection reintroduces Bergson to the dominant discourse in continental philosophy (phenomenology), reevaluates phenomenologists' readings of Bergson (e.g., Heidegger, Sartre, Merleau-Ponty, Levinas, and Henry), and examines Bergsonian challenges to phenomenological methods and issues. What emerges is not only a revitalized Bergson read on his own terms, but also a view of the vibrance of Bergson's thought and its central contributions to perennial issues in phenomenology and contemporary continental philosophy: including dualism, intentionality, subjectivity and selfhood, science, time, ethics, freedom, life and affectivity.

本书是在跨文化的视域下的“心性现象学”研究。“心性”这个概念来自东方，主要出自儒学和佛学。就儒学而言，心性论发端于孟子，至宋明儒学而发扬光大，在近现代，随着西学思想的引入，心性论也在东西方思想的跨文化研究中焕发出新的生机。本书第一部分主要是对胡塞尔意识理论（或心性思想）的探究。东方传统借“体知”这一概念与现象学家舍勒借“道德感受”（ morales Fühlen）所展开的问题相当契合。本书第二、第二部分主要关心的是舍勒的现象学和儒家传统（尤其是孟子一系的心性传统对于“体知”与“情感”问题的讨论，以及与之相关的两个思想传统对于伦理问题的思考。这三个部分在总体上都事关广义上的“心性”问题，它们或与人的“自知”有关，或与人的“知人”“体物”有关，或与人的“成人”有关。根本上，它们都关乎心性之学这个“做人”的“大宗纲”。

Phenomenology, the philosophical method that seeks to uncover the taken-for-granted presuppositions, habits, and norms that structure everyday experience, is increasingly framed by ethical and political concerns. Critical phenomenology foregrounds experiences of marginalization, oppression, and power in order to identify and transform common experiences of injustice that render “the familiar” a site of oppression for many.
In Fifty Concepts for a Critical Phenomenology, leading scholars present fresh readings of classic phenomenological topics and introduce newer concepts developed by feminist theorists, critical race theorists, disability theorists, and queer and trans theorists that capture aspects of lived experience that have traditionally been neglected. By centering historically marginalized perspectives, the chapters in this book breathe new life into the phenomenological tradition and reveal its ethical, social, and political promise. This volume will be an invaluable resource for teaching and research in continental philosophy; feminist, gender, and sexuality studies; critical race theory; disability studies; cultural studies; and critical theory more generally.

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.

First published in 1945, Maurice Merleau-Ponty’s monumental Phénoménologie de la perception signalled the arrival of a major new philosophical and intellectual voice in post-war Europe. Breaking with the prevailing picture of existentialism and phenomenology at the time, it has become one of the landmark works of twentieth-century thought. This new translation, the first for over fifty years, makes this classic work of philosophy available to a new generation of readers.
Phenomenology of Perception stands in the great phenomenological tradition of Husserl, Heidegger, and Sartre. Yet Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and "intellectualism" on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world.

Can you be a self on your own or only together with others? Is selfhood a built-in feature of experience or rather socially constructed? How do we at all come to understand others? Does empathy amount to and allow for a distinct experiential acquaintance with others, and if so, what does that tell us about the nature of selfhood and social cognition? Does a strong emphasis on the first-personal character of consciousness prohibit a satisfactory account of intersubjectivity or is the former rather a necessary requirement for the latter?
Engaging with debates and findings in classical phenomenology, in philosophy of mind and in various empirical disciplines, Dan Zahavi's new book Self and Other offers answers to these questions. Discussing such diverse topics as self-consciousness, phenomenal externalism, mindless coping, mirror self-recognition, autism, theory of mind, embodied simulation, joint attention, shame, time-consciousness, embodiment, narrativity, self-disorders, expressivity and Buddhist no-self accounts, Zahavi argues that any theory of consciousness that wishes to take the subjective dimension of our experiential life serious must endorse a minimalist notion of self. At the same time, however, he also contends that an adequate account of the self has to recognize its multifaceted character, and that various complementary accounts must be integrated, if we are to do justice to its complexity. Thus, while arguing that the most fundamental level of selfhood is not socially constructed and not constitutively dependent upon others, Zahavi also acknowledges that there are dimensions of the self and types of self-experience that are other-mediated. The final part of the book exemplifies this claim through a close analysis of shame.

Andre Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cinema, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protege of Francois Truffaut, who honors him touchingly in his forword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not."