Texte remanié de: Th. doct.--Université catholique de Louvain.

Texte remanié de: Thèse de doctorat--Paris XII. / Bibliogr. p. 287-289.

Thèse de doctorat : Philosophie : Paris 12 : 2005. / Thèse électronique uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. Bibliogr. f. 314-322.

Thèse de doctorat : Philosophie : Paris Est : 2008. / Titre provenant de l'écran-titre.

Thesis (Ph. D.)--York University, 1998. Graduate Programme in Philosophy. / Typescript. Includes bibliographical references (leaves 299-306). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ39275.

This is the first time such an extensive application has been attempted. The thesis argues that Gestalt therapy as a modality of perception, can best come to a recognition of itself in the Phenomenology oj Perception. That Gestalt therapy requires such a support is apparent right from its flawed foundation in the writings of Paul Goodman. Its weak philosophical foundation has diverted its development away from the lived body, impoverished its view of phenomenology, constrained its language so that the articulation of its theoretical structures lacks depth, left it vulnerable to the distortions of post-modem constructivism, rendered unclear the domain proper to it as a psychotherapy, and bequeathed to those who would work to construct a consistent, organic and cohesive theoretical structure, an impossible task. The epistemological foundation of the theoretical structures of Gestalt therapy is to be found in what Merleau-Ponty calls 'primordial contact' or belief. This is that timeless pre-conceptual 'moment', when, without theme or image, a world begins to form itself about me. In this 'moment' I experience myself as 'given' to me in my body. This primordial experience of givenness is henceforth the ever-present anchorage of all subsequent experience. It is this which authenticates the therapist's immediacy to his/her client which constitutes the dialogue between them as healing. The argument in the thesis hinges upon the congeniality between Gestalt therapy and Merleau-Ponty's philosophy: they are both experiential, radically holistic and centred upon the lived body. They both claim to transcend the subject/object, mind/body dualism and view the human being in his/her embodiment as the Gestalt, actualizing being-in-theworld. The thesis demonstrates how, with the application of four key concepts from Merleau-Ponty's philosophy to the theoretical structures of Gestalt therapy-intentionality, anonymity, transcendence and intersubjectivity - there emerge new horizons of understanding for such Gestalt therapy concepts as field theory, immediacy, holism, personal relationship and the body as a carrier of our history. Such an application also reveals to us the 'phenomenal field' as the domain of operation proper to a therapy of bodily presence, awareness and exploration. The thesis concludes that the development of Gestalt therapy theory lies in a more profound development of its phenomenology along the lines of the analysis made by Merleau-Ponty in the Phenomenology of Perception. Such a direction will at once correct its list towards scientism, and the penchant for involvement in distracting philosophical debates. The thesis also points up the need for development at the training level of skills in reflection upon the experiential learning of the Gestalt therapy concepts, the paramount importance of relationship between trainers and trainees based upon an exacting personal authenticity and transparency.

Šiame darbe dėmesys sutelkiamas į dviejų mąstytojų, atstovaujančių moderniąją ir fenomenologinę tradiciją – Rene Descartes’o ir Maurice’o Merleau-Ponty – regėjimo sampratų analizę. Kaip pagrindinis darbo metodinis įrankis pasirenkama okuliarcentrizmo ir antiokuliarcentrizmo diskursų perskyra, kurią įveda šiuolaikinio vizualinio diskurso teoretikas Martinas Jay. Tokiu principu rašto darbe iškeliama ir analizuojama okuliarcentrizmo kaip epistemologinio regėjimo privilegijavimo problema, kurios ištakos siekia Platono filosofiją. Regėjimo kaip intelektinės veiklos, kontempliuojančios teorinės žiūros ar idealaus/iškūnyto žvilgsnio samprata išryškėja Platono filosofijoje, kuomet pabrėžiama juslinio pasaulio ir idėjų pasaulio bei juslinės akies ir proto akies skirtis, iškeliant pastarosios prioritetą bei nuvertinant pirmąją. Darbe parodoma, jog Descartes’as radikalizuoja šias perskyras, sąmonės/kūno bei sąmonės/pasaulio dualizmo pagrindu, įtvirtindamas regėjimo į sąmonę redukciją. Šioms skirtims eksplikuoti remiamasi Descartes’o regėjimo modelio kaip cameros obscuros, karteziškojo perspektyvizmo ir negyvos akies identifikacijomis. Iškeltos problemos pagrindu darbe suformuluojama tezė, kad Merleau-Ponty vykdoma karteziškosios regėjimo sampratos transformacija yra okuliarcentrizmo kaip sąmonės/kūno ir sąmonės/pasaulio dualizmo problemos įveika. Tvirtinama, jog Merleau-Ponty įveikia sąmonės/kūno ir sąmonės/pasaulio perskyras, formuluodamas regėjimo kaip komunikacijos, įkūnytos... [toliau žr. visą tekstą] / The work focuses on the analysis of the visual conception of the two thinkers – Rene Descartes and Maurice Merleau-Ponty – who are representing modern and fenomenological traditions. As a main methodological tool is chosen the typology of the discourses of ocularcentrism and antiocularcentrism, which are introduced by the contemporary visual theorist Martin Jay. Thus the problem of ocularcentrism is raised and analyzed as a problem of the epistemological privilegiation of the visual, which origins are found in Plato’s philosophy. The conception of the visual as an intellectual act, contemplative theoretical gaze or ideal/disembodied vision is emphasized in the philosophy of Plato, where he distinguishes the sensual world and the world of ideas, the sensual eye and the eye of mind, raising the priority for the latter and devaluating the previous one. The paper shows Descartes to radicalize those distinctions on the basis of the dualism of consciousness/body and consciousness/world, establishing reduction of the vision into the consciousness. To explicate that, it is refered to the visual Descartes’ model as identifications of camera obscura, Cartesian perspectivalism and dead eye. On the basis of the arised problem the thesis of the paper is being formulated: transformation of the Cartesian visual conception made by Merleau-Ponty is the solution of ocularcentrism as the problem of consciousness/body and consciousness/world dualism. It is stated that Merleau-Ponty resolves the... [to full text]

The musical performer’s embodied experience is an aspect of the performing process that has yet to be adequately considered in music scholarship. The embodied experience is relegated to the realm of the inaccessible and subjective, rather than being considered a valuable source of information for both the music analyst and performer. This thesis contends that the performing body can provide deep insights into musical meaning and can act as a resource for developing musical understanding. The sensations and experiences of the performer’s body during the process of creating music can lead to the recognition of important moments and fundamental meanings within a musical work. Engaging with scholarly literature from a variety of disciplines, this thesis will explore the classical singer’s embodied experience from the three primary perspectives of phenomenology, ecological perceptual theory and body communication theory. Each perspective is explored in and through a comparative listening analysis of Luciano Berio’s work for solo voice Sequenza III per voce femminile (1966) in order to illuminate specific aspects of the singer’s embodied experience. This embodied approach to musical analysis considers the singer’s body as a contributor to not only the production of sound but also to the creation of musical meaning, and can thus offer rich insights into that which is discovered through traditional analysis.

This thesis attempts to illuminate new approaches to the thought of Jean Baudrillard, by understanding his unique phenomenological approach and radical affirmation of experience. This will be considered through an exploration of some interesting distinctions between his work and Friedrich Nietzsche’s. Where Nietzsche attempts to fall out of exchange with the world, it will be found that Baudrillard’s work is attempting to enact a kind of tension with things. This aspect of Baudrillard’s work will be examined through some interesting connections to the later work of Maurice Merleau-Ponty, specifically through the concept of reversibility. These connections and distinctions will gather in some important insights on Baudrillard’s approach to the topics of void, the hyperreal and relationality. Moreover, through exploring the intricacies of his phenomenological approach, I hope to understand more clearly what it means to sink into appearances, and to locate the subject wholly within the tensions of relations and forces enigmatic to it. / Graduate

Zugl.: Bonn, Univ., Habil.-Schr., 2004