Source: The Divided Self (1960), Ch. 1 : The existential-phenomenological foundations for a science of persons
Context: Existential phenomenology attempts to characterize the nature of a person's experience of his world and himself. It is not so much an attempt to describe particular objects of his experience as to set all particular experiences within the context of his whole being-in-his-world. The mad things said and done by the schizophrenic will remain essentially a closed book if one does not understand their existential context. In describing one way of going mad, I shall try to show that there is a comprehensible transition from the sane schizoid way of being-in-the-world to a psychotic way of being-in-the-world. Although retaining the terms schizoid and schizophrenic for the sane and psychotic positions respectively, I shall not, of course, be using these terms in their usual clinical psychiatric frame of reference, but phenomenologically and existentially.
Source: The Anatomy of Human Destructiveness (1973), p. 262
“Art is naturally concerned with man in his existential aspect, not in his scientific aspect.”
Source: The Strength To Dream (1961), p. 214
Context: Art is naturally concerned with man in his existential aspect, not in his scientific aspect. For the scientist, questions about man's stature and significance, suffering and power, are not really scientific questions; consequently he is inclined to regard art as an inferior recreation. Unfortunately, the artist has come to accept the scientist's view of himself. The result, I contend, is that art in the twentieth century — literary art in particular — has ceased to take itself seriously as the primary instrument of existential philosophy. It has ceased to regard itself as an instrument for probing questions of human significance. Art is the science of human destiny. Science is the attempt to discern the order that underlies the chaos of nature; art is the attempt to discern the order that underlies the chaos of man. At its best, it evokes unifying emotions; it makes the reader see the world momentarily as a unity.
“Social phenomenology is the science of my own and of others' experience.”
Source: The Politics of Experience (1967), Ch. 1 : Experience as evidence
Context: Social phenomenology is the science of my own and of others' experience. It is concerned with the relation between my experience of you and your experience of me. That is, with inter-experience. It is concerned with your behaviour and my behaviour as I experience it, and your and my behaviour as you experience it.
Source: Between Man and Man (1965), p. 147
Discovery of Freedom: Man's Struggle Against Authority (1943)
Source: False Necessityː Anti-Necessitarian Social Theory in the Service of Radical Democracy (1987), p. 467
Variant translation: One of the strongest motives that lead men to art and science is escape from everyday life with its painful crudity and hopeless dreariness, from the fetters of one's own ever-shifting desires. A finely tempered nature longs to escape from the personal life into the world of objective perception and thought. With this negative motive goes a positive one. Man seeks to form for himself, in whatever manner is suitable for him, a simplified and lucid image of the world, and so to overcome the world of experience by striving to replace it to some extent by this image. This is what the painter does, and the poet, the speculative philosopher, the natural scientist, each in his own way. Into this image and its formation, he places the center of gravity of his emotional life, in order to attain the peace and serenity that he cannot find within the narrow confines of swirling personal experience.
As quoted in The Professor, the Institute, and DNA (1976) by Rene Dubos; also in The Great Influenza (2004) by John M. Barry
1910s, Principles of Research (1918)
Context: Man tries to make for himself in the fashion that suits him best a simplified and intelligible picture of the world; he then tries to some extent to substitute this cosmos of his for the world of experience, and thus to overcome it. This is what the painter, the poet, the speculative philosopher, and the natural scientist do, each in his own fashion. Each makes this cosmos and its construction the pivot of his emotional life, in order to find in this way the peace and security which he cannot find in the narrow whirlpool of personal experience.
Source: 1940 - 1950, The Plasmic Image 1. 1943-1945, p. 140
Introduction, p. xviii
"Quotes", The Great Code: The Bible and Literature (1982)
