Uppsatsens syfte är att bidra med kunskap om det komplexa begreppet kreativitet. Utifrån ettfenomenologiskt perspektiv är det upplevelsen av kreativitet i en datorsimulerad virtuell miljö som är ifokus. Studien vilar på ett teoretiskt ramverk i Maurice Merleau-Pontys anda med tankar om attutgångspunkten för all vår kunskap, sinnesintryck och erfarenhet fås genom våra levande kroppar.I studien fick undersökningsgruppen bestående av fyra deltagare till uppgift att utan föreskrifter, på egenhand utan tidspress, skapa någonting i en virtuell miljö med hjälp av den grafiska programvaran Tilt Brush.Studien är kvalitativ och bygger på intervjuer före aktiviteten i VR, observationer under aktiviteten ochintervjuer efter aktiviteten i VR. Det empiriska materialet har analyserats enligt den deskriptivafenomenologiska metoden grundad av Amadeo Giorgio. Metoden har en tydlig förankring i denfenomenologiska filosofin och kännetecknas av att erhålla en sådan exakt beskrivning som möjligt av detundersökta fenomenet.Resultatet visar att de generella kännetecken som tillsammans formar upplevelsen av kreativitet går atturskilja via tre huvudteman: förändring i tid och rum, en förmåga och vitalitet. Utifrån det fenomenologiskaperspektivet i studien är det möjligt att urskilja en kreativ process som tar sig till uttryck enligt två teman:aktiv process eller koncentrerad process. Den aktiva processen utmärker sig hos deltagarna utan erfarenhetav VR och representerar en kreativ upplevelse med mycket kroppsliga rörelser, ett utforskande och ett skedeför att skaffa kunskap om verktyget. Den koncentrerade processen utmärker sig hos deltagarna mederfarenhet av verktyget och representera en kreativ upplevelse med mindre kroppsliga rörelser på en mindreyta. Studiens resultat bekräftar i många avseende mycket av den forskning som redan finns: ett fenomenmed en hög nivå av komplexitet i och med deltagarnas svårighet att definiera begreppet och prata om sinaupplevelser

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Chronic pain disorders are estimated to affect a significant proportion of the global population. These disorders are often debilitating and pose a substantial challenge to the everyday life of those affected. Modern medicine has made great strides in understanding the physiological processes involved in chronic pain. However, chronic pain is more than merely a physiological process. Chronic pain is an embodied mode of being-in-the-world that manifests in multiple aspects of lived experience, from the ability to perform day-to-day tasks to the relationship between body and self. Consequently, it is essential to cultivate a rich appreciation of chronic pain as a lived experience. To rely solely on physiological knowledge in conceptualizing chronic pain precludes the development of such an appreciation. This work examines the ways that phenomenology can be leveraged to broaden the current medical understanding of chronic pain to better incorporate subjective experience. As a rigorous methodology for studying embodied consciousness, phenomenology provides the theoretical and conceptual tools to form a rich description of chronic pain's lived experience. First, a brief history of theories of pain is presented to contextualize the development of modern medical understandings of chronic pain. Following this, the writings of three classical phenomenologists—Husserl, Heidegger, and Merleau-Ponty—are presented, and key phenomenological concepts are introduced. Phenomenology is then used to examine the lived experience of chronic pain. Finally, means of integrating phenomenology into the current medical framework are explored.

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In the Sellarsian idiom, the space of reasons distinguishes rational beings as those invested in the game of giving and asking for reasons as set apart from beings merely susceptible to the space of causes, i.e. the realm of law. In this work I open a path toward perceiving and thinking that human beings characteristically live their lives in the space of motivations, an intelligible realm of perception, thought, and action whereby non-rational, non-causal descriptions and explanations of behavior serve as the primary and legitimating backdrop of those lives. The idea of motivations stems from the underdeveloped notion within the corpus of Maurice Merleau-Ponty. In preparing a path toward the space of motivations, I argue for three claims. First, in the philosophy of mind, I argue for what I call the attentionality thesis (chapter 1), which states that the mind is primarily structured by attention in two senses: that consciousness has the capacity for re-direction toward different and multiple intentional objects, and that remaining directed toward an intentional object reveals different qualitative features of that object or mode of comportment. The attentionality thesis, which I draw from Merleau-Ponty's work, broadens the Brentano-Husserl intentionality thesis. I further argue that the attentionality thesis undercuts the distinction in kind between cognitive intentionality and motor intentionality (chapter 2), reveals shared problematic presuppositions of qualia theorists and functionalists (chapter 3), and challenges key concepts in Alva Noë's enactive theory of mind. Second, in light of the attentionality thesis, I diagnose concerns about whether perception is conceptual or nonconceptual, particularly with respect to John McDowell's conceptualism and Hubert Dreyfus's and Sean Kelly's nonconceptualism. I show that considerations of these arguments suggest an impasse between the claims that perception is conceptual, even in motor intentional comportments (chapter 2), and nonconceptual, in light of the fineness of grain argument (chapter 4). This leads to the final claim that the primary way to understand human perception, thought, and action is not via conceptual or nonconceptual considerations, but rather via motivations in the significance they lend (chapter 5). / Philosophy

Esta pesquisa é um estudo sobre o ensino de arte no ciclo inicial do Ensino Fundamental e a possibilidade de inserir a arte contemporânea neste momento da escolarização. Aspectos da fenomenologia de Maurice Merleau-Ponty fundamentais no mundo às análises realizadas, fortalecem a necessidade de dar visualidade ao que está visível no mundo, ao trazer também, uma camada de sua invisibilidade e situar o educando no seu tempo com as sombras do seu presente para que compreenda a si mesmo. Tal afirmativa ganha sustentabilidade com obras de artistas contemporâneos que fazem parte do município de Mogi das Cruzes. O tratamento dado a pesquisa permitiu que se desvelasse a compreensão de educadoras do ciclo inicial sobre a linguagem artística contemporânea e revitalizasse suas metodologias de ensino de arte. / This research is a study about the teaching of Art in the first cycle of basic education and the possibility of inserting contemporary art at this level of education. Aspects of Maurice Merleau-Pontys Phenomenology are fundamental in the world to the analysis made and stress the need to give view to what is visible in the world, and also to bring a layer of its invisibility and place the student at his time with the shadows of his present to self understanding. This statement is supported by works of contemporary artists who are from the city of Mogi das Cruzes. This research made it possible for teachers of the first cycle of basic education to understand the contemporary artistic language and revitalize their art teaching methods.

Este trabalho é um estudo sobre a produção de alguns artistas brasileiros procurando situar o fenômeno corporeidade percebido em algumas obras. Aspectos da fenomenologia de Maurice Merleau-Ponty servirão de base para as análises que serão feitas. Não tratamos de definir um conceito final sobre o assunto, mas propomos a articulação de aspectos estudados na arte atual com temáticas da filosofia pontiana que nos aproximam da compreensão de um entrelaçamento entre o artista e o mundo, com o qual buscaremos desvelar possíveis características da sensibilidade atual. Neste sentido, nos aproximamos da produção de três artistas brasileiros de gerações diferentes: Amélia Toledo, Carmela Gross e Ernesto Neto. E, depois, procuramos observar como algumas questões ainda permanecem operantes nas produções e experiências de criação de jovens artistas, nascidos por volta dos anos de 1980: Júlio Meiron, Amanda Mei, Lia Chaia e Vitor Mizael. Esse tratamento permite um olhar para arte do qual emerge uma nova ideia de corpo não só como presença e fisicalidade, mas como ausência e extensão, senciente-sensível manancial fecundo para a expressão artística. / This research is a study on the production of some Brazilian artists and it seeks to locate the phenomenon corporality. Aspects of the phenomenology of Maurice Merleau-Ponty will be the basis for analysis that will be made. We dont try to set a final concept on the subject, but we propose the articulation of aspects studied in the current art and themes of the Merleau-Ponty\'s philosophy. So, we approach the production of three Brazilian artists of different generations: Amelia Toledo, Carmela Gross and Ernesto Neto. And then we observed how some issues continue still in production and operating in the experience of creating young artists: Julio Meiron, Amanda Mei, Lia Chaia and Victor Mizael. This treatment allows one to look at art from which emerges a new idea of the body not only as a presence and physicality, but as an absence and extension fruitful source for artistic expression.

O presente trabalho objetiva oferecer uma leitura do pensamento de Maurice Merleau- Ponty desde a tese inicial de 1945, Fenomenologia da percepção à obra inacabada O visível e o invisível, no que diz respeito a um percurso sobre as imagens pictóricas nesta filosofia. O foco central pretendido para este itinerário, não só suscita as imagens nas obras de vários artistas citados pelo filósofo francês, tendo a referência essencial às pinturas de Paul Cézanne, como busca justamente compreender certa organização do trabalho pictórico realizada pelos artistas para o ato de criação das obras de arte. Para isso, chamamos de plano das imagens o modo como os autores se abrem à organização estruturante das obras desde a sua concepção à entrega delas aos sujeitos percipientes. Conforme esta linha de articulação pretendida, enveredamos no percurso citado a fim de explicitar, primeiramente, na fase fenomenológica do filósofo, o contexto no qual se verifica a percepção das imagens da arte moderna e o sentido que elas têm diante da questão central do corpo próprio e da pintura clássica que se preocupou em representar o mundo conforme a nítida captação da natureza. Mediante a expressão que possui cada artista, Merleau-Ponty nos permite pensar quanto ao segundo passo, na linguagem expressiva que abre o sujeito ao outro numa significação atrelada ao mundo. Cézanne é o artista que especialmente restabeleceu com suas imagens a expressão que ultrapassa perspectivas de um mundo pronto e determinado. Como último ponto deste trabalho, procuramos elucidar a plasticidade das imagens como condição de envolvimento carnal no mundo, para tanto, centramos nossa leitura na direção merleau-pontyana dada para o pacto visível que os pintores têm com as imagens e por meio das quais eles terminam organizando um ato fecundo de criação graças ao plano de imagens que eles constroem e conforme a sua tarefa dinâmica. / The present work has as objective a reading of Maurice Merleau-Ponty since his inicial thesis in 1945, Perception Phenomenology to his unfinished work The visible and the invisible, in what concerns a route over the pictorial images of this philosophy. The main focus for this route, not only raises the images in the works of various artists cited by the French philosopher, having as the essential reference the paintings of Paul Cézanne, as it rightly seeks to understand certain \"organization\" of the pictorial work by the artists for the act of artwork creation. To achieve this, well use the expression pictures plane in reference to the way the authors open themselves to the structural organization of their works from their conception to their deliver to the percipient audiences. As follows this line of articulation, we set the \"route\" to explain, firstly, the phenomenological phase of the philosopher, the context in which appears the perception of images of modern art, and the sense that they have on the central question of \"own body\", and of classical painting that focused in representing the world as a clear depiction of nature. Upon the expression that each artist has Merleau-Ponty allows us to think, concerning the second instance, about the expressive language that opens the subject audience to the others self in a meaning linked to the world. In the final instance of this work, we sought to elucidate the plasticity of the images as a condition of carnal involvement in the world, therefore, focusing our reading on Merleau-Pontys direction given to the visible pact that painters have with images and through which they finish \"organizing\" a fruitful act of creation thanks to the pictures plan they construct and to its dynamic task.

Le présent travail interroge l’œuvre de Goffredo Parise (Vicenza, 1929 – Treviso, 1986) à partir du primat qu’il accorde à la vue dans chacun de ses écrits. Une recherche des causes au fondement d’une telle poétique ainsi que des implications qui en découlent a ainsi été menée dans un cadre d’interprétation dépassant les frontières purement littéraires au profit d’instruments méthodologiques empruntés à la philosophie (Maurice Merleau-Ponty, en ce qui concerne les liens avec la phénoménologie, et François Jullien, pour ce qui est du rapport à l’Orient), à l’anthropologie visuelle et à la critique d’art (Georges Didi-Huberman). Cette étude s’est développée selon deux axes principaux : d’une part, l’analogie entre la réflexion philosophique et la poétique de l’auteur, qui a montré la validité d’une relecture de l’œuvre de Parise à travers le prisme du primat de la perception ; d’autre part, les affinités qu’entretient l’écriture de Parise avec la pratique picturale, qui ont, une fois de plus, prouvé à quel point la production de l’auteur ne peut être contenue dans des frontières strictement littéraires mais exige le recours continuel à des instruments interprétatifs issus d’autres champs de recherche. / This research focuses on the work of Goffredo Parise (Vicenza, 1929 – Treviso, 1986) seen under the perspective of the primacy of the visual element, which can be traced in every text he has ever written. Drawing on Maurice Merleau-Ponty’s phenomenology, François Jullien’s thinking and Georges Didi-Huberman’s visual anthropology, the thesis aims to trace the origins of Parise’s poetics and its relationships with philosophy and visual arts. The first strand of the research deals with the intersections between Parise’s work and the philosophy of perception, while the second one investigates the similarities between Parise’s poetics and painting. This leads to the conclusion that Parise’s work requires broader instruments of analysis than traditional literary critique.