Thèse (M.A.)--Université Laval, 1997. / Bibliogr.: f. 165-171. Publié aussi en version électronique.

Made available in DSpace on 2016-06-02T20:12:17Z (GMT). No. of bitstreams: 1 4157.pdf: 2904242 bytes, checksum: dbaf93c398d3df686194c9877f64eae8 (MD5) Previous issue date: 2011-03-28 / ABSTRACT This work takes its point of departure in Merleau-Ponty s Philosophy, centered in the notion of Crisis of Reason , basing itself on the presupposition that this is a fundamental concept of contemporary phenomenology. In the Cartesian thought, already it was possible to find the idea of the crisis, however, it was the finding of a crisis of sciences . Something similar was also in Valery, especially when he speaks of a crisis of spirit . The novelty of Husserl was exactly in showing that the crisis, as he lived it, was deeper, shook the Reason itself. This work assumes the task of showing that, not limiting to a crisis of sciences, of the spirit or of Reason itself, Merleau-Ponty discusses a present crisis in the man himself, or rather, in the diverse points of view that has about him. In this sense, his philosophical project is based, primarily, on the attempt to establish a dialogue with the points of view of the philosophy and of the science. Therefore, an inquiry of the divergence of these points, is warranted, elucidating not only the scenario in which the conflict is, but also its genesis. Likewise, starting from a Merleau-Pontian understanding of the crisis, finally, this study also assumes the task of asking about the repercussions of this crisis in the relation of philosophical knowledge to itself, then, in the way of his own philosophy to understand its history, being, therefore, the importance of this incursion in the desire to explain what, according to Merleau-Ponty, would be a possible way of overcoming. / Este trabalho parte de uma leitura da filosofia de Merleau-Ponty centrada na nocao de Crise da Razao , fundamentando-se no pressuposto de que se trata de um conceito fundamental da fenomenologia contemporanea. No pensamento cartesiano, ja era possivel encontrar a ideia de crise, porem, tratava-se da constatacao de uma crise das ciencias . Algo semelhante havia tambem em Valery, especialmente ao se falar de uma crise do espirito . A novidade de Husserl estava justamente em mostrar que a crise, tal como ele a vivia, era mais profunda, abalava a propria Razao. Este trabalho assume a tarefa de mostrar que, nao se limitando a uma crise das ciencias, do espirito ou da propria Razao, Merleau-Ponty discute uma crise presente no proprio homem, ou antes, nos diversos pontos de vista que se tem a seu respeito. E neste sentido que o seu projeto filosofico se fundamenta, em primeiro lugar, na tentativa de estabelecer um dialogo entre os pontos de vista da filosofia e da ciencia. Por conseguinte, justifica-se uma investigacao da divergencia destes pontos, procurando elucidar nao so o cenario no qual o conflito se encontra, mas tambem a sua genese. Do mesmo modo, partindo de uma compreensao merleau-pontiana da crise, por fim, este trabalho assume tambem a tarefa de se indagar acerca da repercussao desta mesma crise na relacao do saber filosofico consigo mesmo, logo, no modo da propria filosofia entender a sua historia, estando, pois, a importancia desta incursao no ensejo de explicitar o que, para Merleau- Ponty, seria uma possivel via de superacao.

Depuis la fin des années 1980, les Coopératives de production agricole (CPA) du Mouvement des travailleurs ruraux sans-terre (MST) au Brésil symbolisent, selon celui-ci, une « forme supérieure de coopération ». Pour le MST, la Cooperativa de Produção Agropecuária Nova Santa Rita (Coopérative de production agricole Nova Santa Rita, COOPAN) représente un modèle de réussite socio-économique d’une coopérative entièrement gérée selon le modèle du « travail collectif » : une communauté stable, rentable économiquement, respectant les principes environnementaux de l’agroécologie et où le travail et la vie quotidienne sont organisés de manière collective et démocratique. Une enquête de terrain attentive révèle, cependant, les soubassements conflictuels de la construction d’une communauté démocratique. Dans ce que nous appelons une « dialectique du conflit », les acteurs sociaux du MST doivent constamment équilibrer le rapport fragile et mouvant entre l’individuel et le collectif, l’horizontalité et la verticalité, l’économique et le politique. Appuyée sur une enquête de terrain s’étalant sur cinq ans et inspirée d’un cadre théorique construit principalement à partir de la phénoménologie politique de Maurice Merleau-Ponty et complété par les pensées de Claude Lefort et d’Hannah Arendt, cette thèse propose la phénoménologie politique comme méthode ethnographique. Nous examinons ainsi la construction de la communauté COOPAN en tentant de comprendre l’institution politique d’une communauté et de ses sujets. Les trente et une familles qui composent COOPAN font la route ensemble depuis presque trois décennies. Nous avons reconstitué cette trajectoire de vie et son fonctionnement actuel dans le but de saisir les différentes formes d’apparition et de transformation du politique ou, autrement dit, les manières par lesquelles se construisent les liens sociaux, les sentiments d’appartenance, les pratiques et les normes à partir desquels se déploie une communauté politique et ses sujets, toujours en mouvement. En d’autres mots, le but est de saisir comment les expériences politiques des sujets participent à instituer un ordre social autour d’un projet politique commun, en construction permanente.

”Chock” är reaktionen på Francis Bacons måleri som såväl konstnären som kritiker och betraktare återkommer till. Hans uttalade ambition att orsaka en chock direkt i nervsystemet fick honom att medvetet gillra fällor som avses slå igen i exakt rätt ögonblick hos betraktaren innan denne hinner intellektualisera kring hans verk. Den här uppsatsen syftar till att undersöka hur han gillrade dessa fällor och varför de fungerar. Den fenomenologiska förklaringsmodellen av en upplevelse grundar sig i att kunskapen och erfarenheterna lagrar sig i betraktarens kropp snarare än i dess sinne och används här som beskrivande teori för att åskådliggöra hur Bacons verk upplevs i kroppen. Maurice Merleau-Ponty och Gilles Deleuze studier i fenomenologi inom konsten ligger till grund för hur detta resonemang förs. Francis Bacons arbetsmetoder, som delvis baseras på förvrängningar och bearbetningar av fotografier, har påvisats av Katharina Günther i hennes arbete med att katalogisera Bacons kvarlåtenskap och belyser i uppsatsen hans medvetna strategi att skapa anatomiska asymmetrier. Dessa påverkar i sin tur exponeringsprocesser i vår hjärna som resulterar i den chock som Bacon avsåg, vilket de två neurobiologerna Semir Zeki och Tomohiro Ishizu visar i sin studie som förklaras i uppsatsen.

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This dissertation examines the relation between embodiment and language, knowledge and memory, as explored in the poetry of South African poet Gabeba Baderoon. In her three published collections of poetry, namely, The Museum of Ordinary Life, The Dream in the Next Body and A Hundred Silences, she depicts seemingly trivial and everyday events or experiences with acute attention to detail, all of which are connected by her unique portrayal of their embodied nature. In doing so, her work illustrates that intellectual activities typically associated with the mind, such as language, knowledge and memory, in fact require the incorporation of the body. Therefore, this dissertation studies the mind-body relation represented in her work with regard to these thematic concerns, since it is a crucial aspect of her poetry and aids not only in understanding and interpreting her work, but also the discourse on embodiment in general. These concerns do, moreover, not remain on a thematic level, but are evident in her poetry itself; that is, her poems too act as a form of embodiment. Furthermore, Baderoon’s poems are able to transcend the supposed mind-body dichotomy in a way that shows much in common with phenomenology, and especially the perspective held by authors such as Maurice Merleau-Ponty. This dissertation incorporates phenomenological ideas on the body and embodiment, as these assist in interpreting Baderoon’s work, as well as for the reason that her poetry sheds new light upon the understanding of such phenomenological ideas, too. Thus, this dissertation seeks to elucidate the manner in which Gabeba Baderoon’s poetry transcends the mind-body dichotomy by means of her exceptional employment of the notion of embodiment on a thematic as well as formal level. / Thesis (MA (English))--North-West University, Potchefstroom Campus, 2012

AL'objectif de cette recherche est une réinterprétation de la pensée esthétique de Maurice Merleau-Ponty visant à la découverte de sa matrice morphologique, c’est-à-dire de sa pertinence et de ses dettes à l’égard la tradition goethéenne et de ses développements dans le domaine de la théorie de l'art et la philosophie de la nature. La thèse est divisée en trois chapitres, dont chacun cherche à mettre l'accent sur les différents aspects de cette filiation morphologique, suivant son développement dans la chronologie de la production merleau-pontienne. Le premier chapitre tente de relier la méthode morphologique et la méthode phénoménologique en évaluant la similarité de leurs contenus esthétologiques. Ce premier chapitre est organisé autour de trois concepts clés de la morphologie, à travers les quels il opère un premier examen de la philosophie merleau-pontienne, depuis ses débuts dans les années Quarante jusqu’à ses résultats ontologiques dans les années Cinquante et les années Soixante: l'ambiguïté de la notion goethéenne de forme nous permet de remonter à la genèse de la philosophie merleau-pontienne de la forme dans La structure du comportement et dans Phénoménologie de la perception; la notion corrélative de symbole permet d'aborder les notions merleau-pontiennes d’idée sensible et matrice symbolique, en les rapprochant à l’Urphänomen de Goethe; la catégorie transversale de style est configuré comme un outil d'enquête des questions morphologiques dans la pensée esthétique de la «nouvelle ontologie» (L’œil et l’esprit [1958] e le Notes de Cours au Collège de France 1958-1959 et 1960-1961). Dans ce chapitre, nous démontrons la confrontation essentielle et constante avec des expériences artistiques (Cézanne, Klee, Rodin, Bazaine et l’Ecole de Paris), convoquées par Merleau-Ponty à l'appui de ses théories esthétologiques. Le chapitre est clôt par un bref appendice sur la question de la fondation “scientifique” de l'esthétique, mis au point par une comparaison entre Merleau-Ponty et Konrad Fiedler. Cette annexe ouvre en même temps le champ de recherche du deuxième chapitre: en fait, compte tenu de la contribution à l'esthétique fournie par la psychologie et la physiologie de la perception, la thèse se plonge dans l'analyse de la voie gestaltiste de la dette merleau-pontienne de la morphologie. Le deuxième chapitre suit le passage qui porte – au sein de la production merleau-pontienne des années Cinquante – d’une philosophie de la forme à une philosophie de l’expression et il fournit la reconstruction de celle qui apparaît comme une véritable esthétique de l’expression et du mouvement. Cette recherche se fonde sur l’analyse attentive de l’inédit Le monde sensible et le monde de l’expression, actuellement conservé dans le Département de Manuscrits Occidentaux de la Bibliothèque Nationale de France et correspondant à la préparation du Cours du Jeudi tenu par Merleau-Ponty au Collège de France dans l’année académique 19952-1953. Le travail d’analyse de l’inédit nous a permis d’évaluer, en plus des inhérences déjà confirmées de l’esthétique merleau-pontienne à la Gestalttheorie (Köhler, Koffka, Wertheimer, Guillaume), une autre comparaison théorique capitale – et assez méconnue -, c’est-à-dire celle avec Viktor Von Weizsäcker par rapport les relations entre la perception et le mouvement. Le troisième chapitre se concentre sur la phase ontologique de la pensée merleau-pontienne, celle qui correspond à la production tardive de Merleau-Ponty et brusquement interrompue par sa mort prématurée en 1961. Central, dans ce troisième chapitre, est la reconstruction du destin de la notion de Gestalt dans Le visible et invisible, qui présente la novelle ontologie de la chair et un contexte philosophique complètement reformé par rapport aux écrits merleau-pontiens des années Quarante. Les paragraphes centraux de ce dernier chapitre se concentre - à travers une comparaison avec des auteurs étroitement liée à Merleau-Ponty - etc / The aim of this project is to provide an alternative reading of Merleau-Ponty’s aesthetics by discovering its morphological matrix and its debts towards the Goethean tradition and towards its developments in the field of art theory and the philosophy of nature. The dissertation is divided into three chapters, each of which seeks to focus on different aspects of the morphological roots of phenomenological aesthetics, in order to follow its developments in the Merleau-Ponty’s production. The first chapter is an attempt to relate morphological method and phenomenological method by evaluating the similarity of their aesthetological contents. This initial chapter is organized around three key concepts of morphology, through which it operates a first screening of merleaupontian philosophy, from its beginnings in the Forties up to its ontological outcomes during the Fifties and the Sixties: the ambiguity of Goethe's notion of form allows us to reconstruct the genesis of the philosophy of form in Merleau-Ponty’s Structure of Behavior and Phenomenology of Perception; the related concept of symbol helps us to realte Merleau-Ponty’s notions of idée sensible and symbolic matrix to Goethe’s Urphänomen; the transversal category of style is configured as a tool for investigation of the morphological issues in the aesthetic thought of the merleaupontian "new ontology". In this chapter we also demonstrate the crucial importance of constant confrontation of Merleau-Ponty with artistic experiences (such as Cézanne, Klee, Rodin, Bazaine and the Ecole de Paris), convened by the philosopher in support of his aesthetological theories. The chapter ends with a brief appendix on the question of the scientific foundation of aesthetics, developed through a comparison between Merleau-Ponty and Konrad Fiedler. This appendix opens simultaneously the search field of the second chapter: in fact, considering the contributions to the aesthetics provided by psychology and physiology of perception, the dissertation goes into the analysis of the role of the Gestalttheorie in Merleau-Ponty’s morphological debt. The second chapter follows the evolution of a theoretical passage in Merleau-Ponty’s production of the Fifties - from a philosophy of form to a philosophy of expression – ending up in the reconstruction of what seems to be a complete aesthetic of expression and of movement. This part of the research project is based on the deep analysis of an unpublished document (Le monde sensible et le monde de l'expression) - currently preserved at the Bibliothèque National de France - corresponding to the lectures given by Merleau-Ponty in the biennium 1952-1953 at the Collège de France. The work of analysis of the document was to assess, in addition to already confirmed inherences of Merleau-Ponty’s aesthetics to Gestalt psychology (Köhler, Koffka, Wertheimer, Guillaume), another crucial theoretical comparison of those years, the one with Viktor von Weizsäcker on the relations between perception and movement. The chapter closes with an appendix which tries to pick up the threads of the contributions to aesthetics theories that Merleau-Ponty develops within his philosophy of nature; this appendix embodies the attempt to read Merleau-Ponty’s aesthetics in terms of philosophy of morphogenesis and productivity The third chapter concentrates on the late ontological phase of Merleau-Ponty’s production - corresponding to the years between 1958 and 1961 - abruptly interrupted by his early death. Central, in this third chapter, is the reconstruction of the fate of the concept of Gestalt in the framework of the text The visible and the invisible, that is structured within the newly formed ontology of the flesh and on the background of a completely reformed philosophical landscape. The central paragraph of this chapter concentrate, through a comparison with two authors closely related to Merleau-Ponty - etc

This dissertation examines the relation between embodiment and language, knowledge and memory, as explored in the poetry of South African poet Gabeba Baderoon. In her three published collections of poetry, namely, The Museum of Ordinary Life, The Dream in the Next Body and A Hundred Silences, she depicts seemingly trivial and everyday events or experiences with acute attention to detail, all of which are connected by her unique portrayal of their embodied nature. In doing so, her work illustrates that intellectual activities typically associated with the mind, such as language, knowledge and memory, in fact require the incorporation of the body. Therefore, this dissertation studies the mind-body relation represented in her work with regard to these thematic concerns, since it is a crucial aspect of her poetry and aids not only in understanding and interpreting her work, but also the discourse on embodiment in general. These concerns do, moreover, not remain on a thematic level, but are evident in her poetry itself; that is, her poems too act as a form of embodiment. Furthermore, Baderoon’s poems are able to transcend the supposed mind-body dichotomy in a way that shows much in common with phenomenology, and especially the perspective held by authors such as Maurice Merleau-Ponty. This dissertation incorporates phenomenological ideas on the body and embodiment, as these assist in interpreting Baderoon’s work, as well as for the reason that her poetry sheds new light upon the understanding of such phenomenological ideas, too. Thus, this dissertation seeks to elucidate the manner in which Gabeba Baderoon’s poetry transcends the mind-body dichotomy by means of her exceptional employment of the notion of embodiment on a thematic as well as formal level. / Thesis (MA (English))--North-West University, Potchefstroom Campus, 2012

This thesis argues that the end of Soviet Marxism and a bipolar global political imaginary at the dissolution of the short Twentieth Century poses an obstacle for anti-systemic political action. Such a blockage of alternate political imaginaries can be discerned by reading the work of Francis Fukuyama and "Endism" as performative invocations of the closure of political alternatives, and thus as an ideological proclamation which enables and constrains forms of social action. It is contended that the search through dialectical thought for a competing universal to posit against "liberal democracy" is a fruitless one, because it reinscribes the terms of teleological theories of history which work to effect closure. Rather, constructing a phenomenological analytic of the political conjuncture, the thesis suggests that the figure of messianism without a Messiah is central to a deconstructive reframing of the possibilities of political action - a reframing attentive to the rhetorical tone of texts. The project of recovering the political is viewed through a phenomenological lens. An agonistic political distinction must be made so as to memorialise the remainders and ghosts of progress, and thus to gesture towards an indeconstructible justice which would serve as a horizon for the articulation of an empty universal. This project is furthered by a return to a certain phenomenology inspired by Cornelius Castoriadis, Claude Lefort, Maurice Merleau-Ponty and Ernesto Laclau. The thesis provides a reading of Jacques Derrida and Walter Benjamin as thinkers of a minor universalism, a non-prescriptive utopia, and places their work in the context of new understandings of religion and the political as quasi-transcendentals which can be utilised to think through the aporias of political time in order to grasp shards of meaning. Derrida and Chantal Mouffe's deconstructive critique and supplement to Carl Schmitt's concept of the political is read as suggestive of a reframing of political thought which would leave the political question open and thus enable the articulation of social imaginary significations able to inscribe meaning in the field of political action. Thus, the thesis gestures towards a form of thought which enables rather than constrains action under the sign of justice.

Zugl.: Darmstadt, Techn. Univ., Diss. u.d.T.: Faust, Wolfgang: Maurice Merleau-Ponty