Abstract

Over the past several decades, the figure of Gustav Špet (1879-1937) has grown unceasingly in prominence, and the significance of his work in contemporary philosophy has increased accordingly. Alongside this process has been another, just as relentless — that of the elaboration and enrichment of our conceptions of the philosopher’s creative character, as well as of nature and essence of his philosophy. Špet’s phenomenon was to become yet another of the major individual projects on the synthesis of the humanities that emerged during his time in the first half of the 20th century. From the point of view of historical fact, Špet’s involvement with the phenomenological movement is limited to him being Husserl’s student in Göttingen from 1912-1913, and to their subsequent written correspondence. Appearance and Sense, the monograph devoted to the problems of phenomenology, was published in 1914. The interweaving of phenomenology and hermeneutics that occurred in Appearance and Sense allowed Špet to reveal the very essence of phenomenology, the exact essence which, according to his words, Husserl was unable to unveil. And here he referred to hermeneutics in order to present phenomenology in a basic and essential way. In this text, hermeneutics and phenomenology are bound tightly together, and they intersect constantly. Following on from A. Savin, we endeavour to justify the thesis that hermeneutics, for Špet himself most likely a detailed commentary of his phenomenological research with no independent significance of its own, gained meaning only within the scope of his phenomenological program.