Taiwan had been colonized by different regimes and thus experienced several waves of immigration in history. Traditionally, there are two forms of writings in Taiwanese language (not Chinese language) --The Chinese character and the Romanized Taiwanese in different historical perspectives -- as a result , it can be problematic especially in its written form. The establishment of the newspaper Tâi-oân-hú-siâⁿ Kàu-hōe-pò which was founded in 1885 had gradually increased the works of Taiwanese literature. This research analyzes the writing problems of Taiwanese literature in the aspects of Epistemology and Aesthetics. It had different totalitarian rules in modern Taiwan have caused two big controversies in the ways of writing systems in Taiwanese literature. Along the controversies on Taiwanese language and its writings that I quoted, the thinking of the movement of ¡§consistency between speech and writing¡¨was originated from the modern Japanese literature, especially the viewpoint¡§inner man¡¨and¡§scene. On the other hand, language issues in European philosophy already has a very long tradition of reflection, which, at first appearance, considers of philosophy that language as merely a tool to represent thinking. After the linguistic turn and the rise of literature, European philosophy of thinking about language problems, has transformed the thinking about language problems from the appearance from the classical theory into the viewpoint that regards language as the material and the machine to my research. This research embarks from the idea of¡§consistency between speech and writing¡¨in the ¡§scene¡¨ regarding the epistemological mechanism, and the philosophy developed by Maurice Merleau-Ponty as to body language, body language as an expression of ideas, reflecting on the perception and cognition mechanism of Taiwan philology system, whit which is formd during this ¡§abstract movement¡¨ . And is how the ¡§abstract movement¡¨ becomes as abstract machine? This research employed Gill Deleuze¡¦s concept of ¡§body without organs¡¨ and ¡§machine¡¨ to analyze the writing problems of Taiwanese literature. From the viewpoints of Deleuze and Guattari, the issue about written forms of Taiwanese literature can be considered as a progress from epistemological mechanism into the ¡§machine¡¨, and thus forms a virtual power of aesthetics.

This paper addresses the aesthetic encounter from the perspective of the writings of Maurice Merleau-Ponty on the visible and the invisible. It begins with the premise that from time to time we encounter situations which precipitate a sense of slippage in our experience of the world. The paper proceeds to argue that the arts can provide a point of access to this experience, and that aesthetic theory has, for example, responded to it through the development of the notion of 'the sublime'. The writings of Maurice Merleau-Ponty and, in particular, aspects of his text The Visible and the invisible, are presented with a view to augmenting this aspect of aesthetic theory. Proceeding from a 'Merleau-Pontian' perspective, the paper explores how the arts can serve to disrupt our conventional sense of space and time - creating ripples in the substance Merleau-Ponty names as 'flesh' - so as to expose the chiasm or blind spot in our experience of the world. The methodology adopted is an experiential one, which draws on the writer's interaction with the selected works of various artists as well as her own practice in glass.

Uppsatsens ämne berör re-performance som utställningsmetod och den fysiska kroppen som utställningsobjekt. Materialet består av Marina Abramovićs retrospektiva utställningen The Cleaner (2017) på Moderna Museet och tre re-performanceverk som framförs av tränade aktörer inne på utställningsområdet. Uppsatsens syfte och frågeställningar består av att undersöka vilka egenskaper re-performance som utställningsmetod har och hur det upplevs att betrakta fysiska kroppar som utställningsobjekt. För att besvara detta används Maurice Merleau-Pontys Phenomenology of Perception (1945) och hans fenomenologiska syn på ett förkroppsligat varande. Varje re-performanceverk analyseras utifrån några utvalda fenomenologiska verktyg presenterade av Merleau-Ponty och utvecklas med hjälp av tidigare forskning som berör relationen mellan fenomenologi och performancekonst. Ur de fenomenologiska verksanalyserna framträder resultat som jag anser är talande för betraktandet av fysiska kroppar som utställningsobjekt och performance i stort, som exempelvis en förståelse av performance som ett sätt iscensätta fenomenologi genom praktik och handling. Betraktandet av performance är beroende av ett performativt assemblage som bildas, samt av empati och intersubjektivitet. Resultatet visar även att re- performance inte enbart kan benämnas som en form av konstdokumentation, utan att betraktandet av dessa även innebär ett betraktande av självständiga performanceverk.

Uppsatsens ämne berör re-performance som utställningsmetod och den fysiska kroppen som utställningsobjekt. Materialet består av Marina Abramovićs retrospektiva utställningen The Cleaner (2017) på Moderna Museet och tre re-performanceverk som framförs av tränade aktörer inne på utställningsområdet. Uppsatsens syfte och frågeställningar består av att undersöka vilka egenskaper re-performance som utställningsmetod har och hur det upplevs att betrakta fysiska kroppar som utställningsobjekt. För att besvara detta används Maurice Merleau-Pontys Phenomenology of Perception (1945) och hans fenomenologiska syn på ett förkroppsligat varande. Varje re-performanceverk analyseras utifrån några utvalda fenomenologiska verktyg presenterade av Merleau-Ponty och utvecklas med hjälp av tidigare forskning som berör relationen mellan fenomenologi och performancekonst. Ur de fenomenologiska verksanalyserna framträder resultat som jag anser är talande för betraktandet av fysiska kroppar som utställningsobjekt och performance i stort, som exempelvis en förståelse av performance som ett sätt iscensätta fenomenologi genom praktik och handling. Betraktandet av performance är beroende av ett performativt assemblage som bildas, samt av empati och intersubjektivitet. Resultatet visar även att re- performance inte enbart kan benämnas som en form av konstdokumentation, utan att betraktandet av dessa även innebär ett betraktande av självständiga performanceverk.

This dissertation contributes to the development of philosophy of disability by drawing on disability studies, feminist philosophy, phenomenology, and philosophy of biology in order to contest epistemic and ontological assumptions about disability within biomedical ethics as well as within philosophical work on the body, demonstrating how philosophical inquiry is radically transformed when experiences of disability are taken seriously. In the first two chapters, I focus on epistemological and ontological concerns surrounding disability within biomedical ethics. Although disabled people and their advocates have been quite vocal regarding their views on disability and in critiquing bioethicists’ approaches to issues that affect them, the interests, knowledge, and experiences of disabled people have had minimal impact on discussions within biomedical ethics textbooks. The risks of making problematic assumptions about disability are high within this subfield insofar as bioethicists impact practices within medical facilities, public policy, and, through student engagement with their texts in biomedical ethics courses, the views of potential health care professionals. All of these, in turn, affect the care provided to disabled people and potential/actual parents of disabled children. Chapter three raises ontological issues related to disability theory, examining the role of the impairment/disability distinction in framing discussions of the body as well as the status of experience. I discuss two approaches to incorporating subjective experiences of the body in disability, arguing that neither is sufficient. I examine debates within feminist theory on questions related to experience. I argue that a feminist phenomenological approach that builds on Merleau-Ponty’s work offers the best way to address bodily experiences in disability theory. The assumptions that disability theorists and Merleau-Ponty make about disability are often at odds. Chapter four points out the ableism in Merleau-Ponty’s use of a case study and considers some of the oversights within Phenomenology of Perception. In spite of my critique, I argue that his approach to phenomenology—with appropriate modifications—is useful not only for theorizing the experiences of disabled people but also for addressing other types of marginalized embodiment. Chapter five applies this method to body integrity identity disorder (BIID), arguing that combining Merleau-Ponty’s insights with those of disability theory allows us to address lived experiences of BIID and to identify assumptions about disability within research on this condition.

Thesis advisor: Richard R. Gaillardetz / This dissertation analyzes the various images of the body in the metaphor of the church as a body, or the body of Christ, in modern Catholic ecclesiology in order to reimagine the corporeal metaphor for postconciliar ecclesiology. The metaphor of the church as a body has a vertical dimension expressing the relationship between Christ and the church and a horizontal dimension expressing the relationships among Christians. In its vertical dimension, “body” has been understood as ‘self’ and/or as ‘spouse.’ In its horizontal dimension, the body has been understood as a living organism and/or as an ordered society. In the magisterial tradition especially, the body is described as a well-bounded and hierarchically ordered organism, in which members are united under a head and share in one common life, and which manifests the person to the world. The metaphor of the church as a body, then, has most often been used to express and justify papal authority and primacy and the exclusion of non-Catholics from the body of Christ, and to posit the Catholic Church as the ongoing manifestation of Christ’s presence and authority. This dissertation utilizes the phenomenology of Maurice Merleau-Ponty to challenge these notions of the body, showing instead that the body is ‘intercorporeal’—interwoven with other bodies, united by meaningful action, and having flexible boundaries. The body is the necessary foundation of existence in the world, but can also inhibit personal presence as well. In light of Merleau-Ponty’s phenomenology, this dissertation argues for a vision of the church as an intercorporeal body—a missionary, dialogical, and decentralized body that is capable of mediating, but also inhibiting, the presence of Christ to the world. / Thesis (PhD) — Boston College, 2021. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

Intentionality, in its various forms, connects the subject with objects as they appear within the subject's view of the world. Poets, like artists, create with their bodies and perceive the world with their senses and with their souls. Subjects allow objects to reveal themselves, to manifest themselves having identities according to the contexts in which they appear. This system is called intentionality—a phenomenological concept in which appearances have ontological meanings. Phenomenology, as explained by Maurice Merleau-Ponty, provides a theoretical framework within which Pedro Salinas's poetry may be understood and interpreted. Pedro Salinas forms part of Spain's Generation of 1927 and produces collections of poetry about the intentionality of the beloved during a love affair. La voz a ti debida, Razon de Amor, and Largo Lamento form a type of trilogy under the suggestion of his friend Jorge Guillén. Salinas resides in America during and after the Spanish Civil War and composes poems which later appear in Largo Lamento posthumously. "La memoria en las manos" exemplifies how the subject intends the stone and his hands while remembering an experience with the beloved. The poetic self in the poem probes the identities of objects in order to comprehend the essence of the beloved and of himself.Pedro Salinas practices intense observations in real life when he travels. While teaching in various schools across the country, he attends conferences showcasing his literary criticism, poetry, and playwriting. He corresponds prolifically with his wife Margarita Bonmatí­ . Through his correspondence with his wife, we see how despite distances and space, he thinks of her constantly. He relates a theory of tourism that coincides with Merleau-Ponty's "brute expression." On one occasion, he travels to Los Angeles, California to attend a literary conference. Along the way he travels through Missouri, Colorado, and Utah visiting various landscapes, national parks, and cities. He chronicles his impressions in letters to his wife. The letters Salinas writes and the appearances he contemplates show his focus and soul are not only his wife, but also Katherine Whitmore, his lover. Margarita and Katherine form a conflation that Salinas perceives in his surroundings.

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O que acontece no encontro do médico com a morte do seu paciente diz de algo estruturante da condição humana que transcende a formação acadêmica e mobiliza por este estar na presença de outro ser humano. Trata-se de uma pesquisa qualitativa que teve como objetivo principal descrever e conhecer o que existe de estruturante no encontro do médico com a morte do seu paciente. Este estudo utiliza o método fenomenológico de pesquisa, entendido como um convite para o exercício reflexivo visando à construção de novos paradigmas na produção de conhecimento. O autor de base que fundamenta a análise teórica foi Maurice Merleau-Ponty (2006). Foram realizadas quatro entrevistas com médicos oncologistas clínicos, embasadas na pergunta norteadora: O que significa para você cuidar do paciente oncológico, sem possibilidade de cura, que vivencia o seu processo de morrer e posteriormente perdê-lo?. Após a realização das entrevistas, os relatos (ingênuos) foram literalizados, dos quais foram levantadas as unidades de análise e transformadas em categorias analisadas fenomenologicamente, que possibilitaram o diálogo intersubjetivo e objetivo com os pressupostos teóricos sobre o tema em pauta. Categorias estas denominadas de: 1. Relação médico e paciente: o desvelar das emoções e sentimentos; 2. Relação médico e paciente: um distanciamento da morte do paciente; 3. O encontro do médico com a morte: a morte imprevisível; 4. Construção da identidade do sujeito: a dimensão ética do ser médico. A partir da análise das categorias, observou-se que tal encontro ocorre de diversas formas, principalmente pelo distanciamento como os médicos em questão lidam com a morte de seus pacientes, vista como um acidente, com falta de diálogo que, necessariamente, esbarra nas questões éticas e de formação acadêmica. A estrutura do fenômeno reside na ausência de diálogo pela dificuldade de lidar com os próprios sentimentos e emoções emergidas do processo de perda por morte de seus pacientes / What happens in the doctors encounter with the death of his patient says about human condition structuring which transcends academic formation and mobilizes in the presence of another human being.This is a qualitative research which had as its principal aim to describe and know what exists of structuring in the doctors encounter with the death of his patient. This study uses the phenomenological method of research, understood as an invitation to the reflexive exercise which aims the construction of new paradigms in the knowledge production.The fundamental author who substantiates the theorical analysis is Maurice Merleau-Ponty (2006). Four interviews with clinical oncologist doctors were made, based on the guiding question: What means to you to take care of the cancer patient, without the possibility of healing, who experiences his dying process and eventually lose him?After the interviews were made, the narratives (literal) were literalized, from which the analysis units were raised and transformed into phenomenologically analyzed categories, which enabled the intersubjective and objective dialog with the theoretical presuppositions about the subject under discussion.These categories are named: 1. Relation between doctor and patient: the unveiling of emotions and feelings; 2. Relation between doctor and patient: a detachment from the patients death; 3. The doctors encounter with death: the unpredictable death; 4. Construction of the subjects identity: the ethical dimension of being a doctor. From the analysis of the categories it was possible to observe that such encounter occurs in several ways, mainly by the detachment which the doctors from this study deal with the death of their patients, seen as an accident, with lack of dialog that necessarily touches the ethical and academic formation questions. The structure of the phenomenon dwells in the lack of dialog due to the difficulty to deal with ones own feelings and emotions emerged from the process of losing ones patients by death

O que acontece no encontro do médico com a morte do seu paciente diz de algo estruturante da condição humana que transcende a formação acadêmica e mobiliza por este estar na presença de outro ser humano. Trata-se de uma pesquisa qualitativa que teve como objetivo principal descrever e conhecer o que existe de estruturante no encontro do médico com a morte do seu paciente. Este estudo utiliza o método fenomenológico de pesquisa, entendido como um convite para o exercício reflexivo visando à construção de novos paradigmas na produção de conhecimento. O autor de base que fundamenta a análise teórica foi Maurice Merleau-Ponty (2006). Foram realizadas quatro entrevistas com médicos oncologistas clínicos, embasadas na pergunta norteadora: O que significa para você cuidar do paciente oncológico, sem possibilidade de cura, que vivencia o seu processo de morrer e posteriormente perdê-lo?. Após a realização das entrevistas, os relatos (ingênuos) foram literalizados, dos quais foram levantadas as unidades de análise e transformadas em categorias analisadas fenomenologicamente, que possibilitaram o diálogo intersubjetivo e objetivo com os pressupostos teóricos sobre o tema em pauta. Categorias estas denominadas de: 1. Relação médico e paciente: o desvelar das emoções e sentimentos; 2. Relação médico e paciente: um distanciamento da morte do paciente; 3. O encontro do médico com a morte: a morte imprevisível; 4. Construção da identidade do sujeito: a dimensão ética do ser médico. A partir da análise das categorias, observou-se que tal encontro ocorre de diversas formas, principalmente pelo distanciamento como os médicos em questão lidam com a morte de seus pacientes, vista como um acidente, com falta de diálogo que, necessariamente, esbarra nas questões éticas e de formação acadêmica. A estrutura do fenômeno reside na ausência de diálogo pela dificuldade de lidar com os próprios sentimentos e emoções emergidas do processo de perda por morte de seus pacientes / What happens in the doctors encounter with the death of his patient says about human condition structuring which transcends academic formation and mobilizes in the presence of another human being.This is a qualitative research which had as its principal aim to describe and know what exists of structuring in the doctors encounter with the death of his patient. This study uses the phenomenological method of research, understood as an invitation to the reflexive exercise which aims the construction of new paradigms in the knowledge production.The fundamental author who substantiates the theorical analysis is Maurice Merleau-Ponty (2006). Four interviews with clinical oncologist doctors were made, based on the guiding question: What means to you to take care of the cancer patient, without the possibility of healing, who experiences his dying process and eventually lose him?After the interviews were made, the narratives (literal) were literalized, from which the analysis units were raised and transformed into phenomenologically analyzed categories, which enabled the intersubjective and objective dialog with the theoretical presuppositions about the subject under discussion.These categories are named: 1. Relation between doctor and patient: the unveiling of emotions and feelings; 2. Relation between doctor and patient: a detachment from the patients death; 3. The doctors encounter with death: the unpredictable death; 4. Construction of the subjects identity: the ethical dimension of being a doctor. From the analysis of the categories it was possible to observe that such encounter occurs in several ways, mainly by the detachment which the doctors from this study deal with the death of their patients, seen as an accident, with lack of dialog that necessarily touches the ethical and academic formation questions. The structure of the phenomenon dwells in the lack of dialog due to the difficulty to deal with ones own feelings and emotions emerged from the process of losing ones patients by death