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In this paper we want to re-examine the traditional belief that phenomenological sociology owes its pedigree primarily to Alfred Schütz. More specifically, we will try to show that Max Scheler is equally worthy of the title of founder of phenomenological sociology. Our argument has three interlocking themes. First of all, we will recognize, like many others before us, the undoubtedly essential contribution made by Schütz, who is generally viewed as the father of phenomenological sociology. Our second step, however, will be to return to the foundations of this approach and to show that it throws up certain difficulties. As is widely known, Schütz's project is nothing less than to apply the Husserlian transcendental to the empirical. But, we will show that because Schütz remains caught in a king of egologic sociology, reducing intersubjectivity--and the social--to a face-to-face relationship, he fails to give to phenomenology a real sociological dimension. Nevertheless this does not mean that phenomenology does not have a powerful sociological dimension. By exploring concepts insufficiently explored by Schütz in a third step, such as Husserl's notion of intentionality and its equivalent in Max Scheler's thought (the frame of mind), we will explore the empirical potential of phenomenology. Scheler, considering a social environment independent (and even constitutive) of the subject, gives the final form to a phenomenological sociology, a sociology which gives us even the mean to think a sympathetic relationship with the natural world, critical of capitalism and prefiguring ecology. [ABSTRACT FROM AUTHOR]

The phenomenological problem of the body (Leib) goes further than its treatment as a theoretical object, insofar as it concerns the meaning and the accomplishment of the phenomenological method itself. Both reduction and intuition, the two major poles of this method, imply in their specificity the reference to an operative corporeity (fungierende Leiblichkeit). The primordial sphere of absolute givenness cannot thus reduce the body proper without sacrificing the very principle that allows delimiting it. But this seems to lead to an unavoidable subjectivation of the phenomenological experience, whose model remains the object of perception (internal or external) and its ideal of intuitivity. In the last part of the paper it is however argued that corporeity is more than the resort of such a subjectivation, appearing also to be, within the framework of expression, the key to intersubjective comprehension. [ABSTRACT FROM AUTHOR]

This paper analyses the question of animals in the framework of the phenomenological problem of the common world. First, it underlines the contrast between Husserl's idea of animals as subjects acting in accordance with a motivation, and the views of Descartes, Heidegger and Sellars, who consider animal behaviour as mechanical or instinctive. After an account of the phenomenological approach to the question of the common world and of Husserl's position concerning animals, it is showed that the results of scientific research on animal behaviour mainly confirm that position. [ABSTRACT FROM AUTHOR]

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale's Tours (pre-1910) to contemporary D-BOX and Dolby Atmos systems have enhanced the audience's sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses various reports within the issue on topics including concept of film phenomenology, qualitative studies on movie productions and trends in contemporary phenomenology.