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The Global ETD Search service is a free service for researchers
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 361 to 370 of 377 (0.022 seconds)Spelling suggestions: "subject:"merleau–ponty"" "subject:"merleau–ionty""
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El logos como principio del proceso creativoSlater Villar, Lucía 13 May 2014 (has links)
¿Por qué plantear como problema el principio del proceso creativo en el arte en vez de lo
bello en sí? Este último no es un problema que prime en el trabajo creativo del artista de
hoy, como tampoco lo fue en los artistas de ayer, a pesar de haber sido y de ser un tema
relevante para los filósofos. Desde la plataforma de los que somos artistas plásticos o
visuales, el proceso creativo sí es parte de nuestra rutina. En ese sentido, urge seguir
encontrando un mejor orden que ayude a organizar ese proceso.
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La raison à l'épreuve du sensible : depuis Husserl et Levinas / The Sensible or the Challenge of Reason : from Husserl and LevinasLorelle, Paula 01 December 2014 (has links)
Avec la phénoménologie, naît une nouvelle idée de la raison qui, au-delà de l’alternative du rationalisme et de l’irrationalisme et contre sa réduction kantienne à une faculté, est redéfinie à l’aune de l’expérience qu’elle permet de décrire. Mais la difficulté survient lorsqu’il s’agit d’atteindre la raison de l’expérience sensible elle-même, en son irréductibilité à toute exigence rationnelle - en son caractère particulier, complexe, lacunaire ou indéterminé. Dès lors, à quelles conditions peut-on penser une logique du sensible, sans aussitôt trahir le sensible ou perdre la raison ? Le projet husserlien d’une « logique-du-monde » exige en sa compréhension comme en son renouvellement, une réévaluation des concepts de « raison » et de « sensibilité ». Notre travail consiste donc en l’étude problématique et critique de ces concepts, depuis deux moments de leur déploiement :leur inauguration husserlienne et leur radicalisation lévinassienne. Le choix de ces deux oeuvres a pour intérêt historique de mesurer l’ampleur de l’élargissement phénoménologique de la raison – d’une conception« intellectualiste » de la sensibilité chez Husserl à sa profondeur lévinassienne ; et pour intérêt problématique de mener le problème à son terme et dans ses dernières contrées, là où le sensible n’apparaît plus comme pétri de sens mais dans son irrationalité même, là où la sensibilité n’est plus la saisie perceptive d’une identité mais l’expérience affective radicale d’une exposition à l’altérité. C’est donc en sa fondamentale équivocité que la sensibilité doit se faire le lieu d’une épreuve renouvelée de la raison, le principe critique de la rationalité mobilisée par sa description. / A new idea of reason was born with phenomenology. Beyond the opposition between rationalism andirrationalism, and against its Kantian reduction to a faculty, reason is redefined in the light of the experiencethat it enables to describe. But the difficulty arises when we attempt to reach the rationality of the sensibleexperience itself, in its own irreducibility to the demands of reason - in its irreducible peculiarity, complexity,lack and indetermination. Under which conditions can we think a logic of the sensible without betrayingsensibility or compromising reason? Husserl’s project of a “logic-of-the-world” requires, in its understandingas in its renewal, a reevaluation of the concepts of “reason” and “sensibility”. This dissertation consists in acritical study of these concepts, from these two main moments of their unfolding: their Husserlian inaugurationand their Levinassian radicalization. From a historical point of view, this choice enables us to assess thisphenomenological extension of reason - from an intellectual conception of sensibility in Husserl, to itsLevinassian depth. From a problematical point of view, this choice enables us to lead the problem to its finalterms, where the sensible is not made of meaning anymore, but appears in its very irrationality - whensensibility is not the perceptive grasp of an identity, but an affective exposure to otherness. Thought in itsfundamental equivocity, sensibility must be the place of a renewed challenge of reason, the critical principle ofthe rationality used by its description.
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MIMO-LIDSKÉ: proměny obrazu člověka v malířství druhé poloviny čtyřicátých až šedesátých let 20. století. Teoretická a metodologická východiska. / BEYOND THE MAN: Transformations of the image of the man in painting from the mid-1940s until the 1960s. Theoretical and methodological principles.Murár, Tomáš January 2019 (has links)
The dissertation thesis deals with the interpretation of the "beyond-the-man" concept, which is being interpreted, on one hand, as a part of the art-theoretical and art-historical European modernity of the end of the 19th and beginning of the 20th century, on the other hand, as a theoretical and methodological starting point for an interpretation of the transformation of the human image in the painting of the second half of the 1940s until the beginning of the 1960s. The foundation for such an interpretation is an assumption of the necessary transformation of the intellectual concepts after the World War II, as it was postulated by Theodor W. Adorno and how it was researched by Giorgio Agamben and Miroslav Petříček in the political-philosophical discourse. The thesis thus researches the "beyond-the-man" concept in the theory and history of art of the end of the 19th and beginning of the 20th century in a way of it being as re-formulated art-creative concept after 1945, evident especially in abstract painting. The interpretation of the "beyond-the-man" concept is developed on reading of Fritz Novotny's interpretation of Paul Cézanne's art from the beginning of the 1930s. Novotny in Cézanne's painting described the concept of "beyond-the-man" (Außermenschlichkeit) as a breaking point of the...
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Organet lever! : Kropp, ting och performativitet i Erik Beckmans roman Inlandsbanan (1967) / The liver is alive! : Body, thing and performativity in the novel Inlandsbanan (1967) by Erik BeckmanNyström, Filip January 2017 (has links)
The works of Erik Beckman (1935-1995) are quite unique within the Swedish literary scene. His texts convert the experimental language of the concretists of the sixties into a new form of fabulation that undermines our understanding of what literature can be, ranging from novels and poetry to theatre pieces and radio theatre. His literary style has been discussed by critics, but the depths of it are yet to be fully explored. There is a lot to gain from combining contemporary theories of materiality and corporeality with his self-proclaimed materialistic poetics. The novel Inlandsbanan (1967) is a fragmentary account of an inland train going through Sweden, with characters coming and going in a frustrating tempo. The text is filled with word games, narrative constructs and a language that brings forth the material aspects of communication that push the boundaries of literary interpretation. This thesis examines Beckman’s novel through the lens of theoretical concepts of thingliness and corporeality developed by the likes of Judith Butler, Karen Barad, and Andrew Pickering in order to elaborate an analysis that goes beyond the surface of its experimental and materialistic use of literary language. Using bodily themes, I analyze specific passages in the novel in order to find a new understanding of its semantic functions. By doing this through the concept of performativity, not only can I identify a thematized corporeality, but beyond that a literary form and a language that problematizes the very notion of the written text as a body and highlights a material agency in literature. This method enables an interpretation of the novel that can illuminates important aspects at play that previously have not been explored.
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Ett hål i känseln : Om språkupplevelsens fenomenologi i Ann Jäderlunds författarskapWiklander, Osvald January 2019 (has links)
This thesis aims to analyze and interpret a number of central works – Vimpelstaden (1985), Som en gång varit äng (1988), Blomman och människobenet (2003), I en cylinder i vattnet av vattengråt (2005) and Vad hjälper det en människa om hon häller rent vatten över sig i alla sina dagar (2009) – by the Swedish poet Ann Jäderlund (1955-) in the context of phenomenology and affect theory. The analysis consists of three chapters and proceeds chronologically with technical scrutinies of separate phases of Jäderlund’s œuvre – from the aphasic-like treatment of established phraseologies in Vimpelstaden and frozen expressions of the botanical discourse in Som en gång varit äng, to the uncanny focus on perceptual patterns as such in her later works. Throughout these analyses the thesis observes a series of techniques with which the author presents us with a kind of sensory paradox, through a) creating language-based complex appearances, non-appropriable by means of the normal perceptual patterns of embodied perception, while still b) simulating, and thus implicitly emphasizing, these appearances as something already concretely looked at and felt. In short, to experience what cannot be experienced, to live the unlivable. Many of these technical observations made are pinned down analytically using concepts from the field of cognitive poetics, namely George Lakoff and Mark Johnsons findings of experiential image schemata underpinning spoken phraseologies and their influential theories on conceptual metaphors. The interpretative conclusion following these observations is that Jäderlund handles her writing aesthetically as a kind of sensory material in a very literal sense, a “being of sensation” in the terminology of French philosophers Gilles Deleuze and Felix Guattari. Not as means of experiential or intellectual representation, not as some sort of critical enterprise through mere language-gaming of free- floating signifiers – but as a material able to preserve and perform sensory processes immanent to its own material compilation, a tendency that earlier research fails to grasp or simply ignores altogether. Thus the affectivity immanent to the literary material – often being the starting point of studies in affect theory and cognitive poetics – is here proven to be a characteristic, thereby playing the role more of a conclusion than a field of inquiry. The aesthetics of interrogating the limits of sensory experience, introducing a sort of crisis to embodied perception through the experience of poetic language – and the experience of it as having a “metaphysical significance”, as French phenomenologist Maurice Merleau- Ponty puts it – is articulated in the thesis against the background of influential readings of modern art carried out by Merleau-Ponty and Deleuze.
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Where do beginner readers read in the English, mainstream primary school and where could they read?Dyer, Emma January 2018 (has links)
Where do beginner readers read in the English, mainstream primary school and where could they read? Emma Jane Dyer This thesis explores design for the beginner reader in Year One by evaluating existing spaces in the English primary school and imagining new ones. Three significant gaps identified in the literature of reading, the teaching of reading and school design are addressed: the impact of reading pedagogies, practices and routines on spatial arrangements for beginner readers inside and beyond the classroom; a theoretical understanding of the physical, bodily and sensory experience of the beginner reader; and the design of reading spaces by teaching staff. The study uses a design-oriented research methodology and framework proposed by Fällman. A designed artefact is a required outcome of the research: in this case, a child-sized, semi-enclosed book corner known as a nook. The research was organized in three phases. First, an initial design for the nook was created, based on multi-disciplinary, theoretical research about reading, school design and architecture. Secondly, empirical research using observation, pupil-led tours and interviews was undertaken in seven primary schools to determine the types of spaces where readers read: spaces that were often unsuitable for their needs. Thirdly, as a response to the findings of phases one and two, the nook was reconceived to offer a practical solution to poorly-designed furniture for reading in schools and to provoke further research about the ideal qualities of spaces for the beginner reader. The study demonstrates how the experience of the individual reader is affected by choices made about the national curriculum; by the size of schools and the spaces within them where readers can learn; by the design of classrooms by teachers; and by regulatory standards for teaching and non-teaching spaces. In developing a methodology that can stimulate and facilitate communication between architects, educators, policy-makers and readers, this thesis offers a valuable contribution to the ongoing challenge of improving school design for practitioners and pupils.
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[en] GIORGIO MORANDI AND THE RESPECT FOR THINGS OF USE / [pt] GIORGIO MORANDI E O RESPEITO PELAS COISAS DE USOJORGE HENRIQUE SAYÃO CARNEIRO 03 May 2019 (has links)
[pt] A tese Giorgio Morandi e o respeito pelas coisas de uso, retoma a produção artística de Giorgio Morandi 1890-1964, um dos mais importantes artistas italianos do século XX, para restabelecer dentro do período de formação do Modernismo suas relações com a produção cultural europeia coetânea. A tese busca mostrar como a obra de Morandi se apresenta como uma alternativa à interpretação artística hegemônica feita pelo Cubismo da obra de Cézanne, privilegiando aspectos dessa poética que foram relegados a segundo plano por Picasso e Braque, notadamente a percepção de um espaço em profundidade corporalmente determinado, porém conjuminando essa espacialização com a linguagem planar estabelecida pelos cubistas. Procuramos mostrar que as buscas de Morandi não tinham afinidades somente no campo das artes, mas como a produção de sua obra e as questões por ela elaboradas, particularmente como o entendimento plástico das coisas e utensílios que lhe servem como motivo para suas naturezas–mortas estão em sintonia com o conceito de coisa e coisidade tratado pxsor Heidegger em A origem da obra de arte e O que é uma coisa?, ambos os textos escritos em 1935. As indagações artísticas de Morandi, de modo mais amplo, têm profundas afinidades com o método fenomenológico de Husserl, Heidegger e Merleau-Ponty. / [en] The dissertation Morandi and the Respect for Things of Use reexamines the artistic production of Giorgio Morandi (1890-1964), one of the most important Italian artists of the 20th century, in order to reestablish, within the time frame of the development of Modernism, his connections with contemporaneous European cultural production. The dissertation shows the ways in which Morandi s work presents itself as an alternative to Cubism s hegemonic artistic interpretation of Cézanne s work, favoring aspects of Cèzanne s poetics that Picasso and Braque relegated to the background – notably the perception of corporally determined depth of space – while at the same time uniting this spatialization with the language of flatness established by the Cubists. The dissertation seeks to demonstrate that Morandi s investigations had affinities not only in the arts, but that the production of his body of work and the questions it raised – in particular the visual understanding of things and utensils that motivated his still-lifes – were in line with the concept of thing and thingness elaborated by Heidegger in The Origin of the Work of Art and What is a Thing? both written in 1935. Morandi s artistic inquiries, in a broad sense, have deep affinities with the phenomenological method of Husserl, Heidegger and Merleau-Ponty.
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Exploring 'optimal' states of consciousness in Michael Chekhov's psychological gesture : towards a new phenomenological paradigmMastrokalou, Effrosyni Efrosini January 2017 (has links)
This thesis examines key concepts from philosophers Nishida Kitaro, Maurice Merleau-Ponty and Fredriche Nietzsche and applies them to elements of Michael Chekhov’s practice of acting. The three philosophers, in different ways, suggest an ‘optimal’ state, beyond a dualistic separation of the fictive from the real and the visible from the invisible, that challenges seemingly unbridgeable dualisms between inner and outer, subject and object, being and becoming and experiencer and experienced. The purpose of this thesis is to analyze and understand these selected ‘optimal’ modes of consciousness in performance and, therefore, open up new ways of thinking about Michael Chekhov’s acting processes; in particular the ‘Psychological Gesture’. The thesis asks the following questions: 1. How can the application of selected philosophical paradigms to the Psychological Gesture through theory and practice further our understanding of Michael Chekhov’s work? 2. How do selected aspects of the fields of phenomenology, post-phenomenology, cognitive sciences, consciousness studies and philosophy of mind, aid in developing an articulation and understanding of an ‘optimal’ state of consciousness as a necessary aspect of the actor’s performance in Michael Chekhov’s work and theatre practice? 3. How can this project develop the way we are able to talk about Michael Chekhov’s work and wider acting processes?
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Dissolving Dualism : A Tripartite Model of Cognition for Religious TruthKalmykova, Elena January 2011 (has links)
This investigation can be described as a long journey to a final destination: a truth in religion. We start by considering dualism of the subjective and the objective, the classical model of cognition that underlies notions of truth. Dualistic notions of cognition lead to serious problems, especially for religious truth. Religions claim to state truths about the nature of the universe and human destiny, but these truths are incompatible. With a dualistic model this problem of diversity of religious truths leads to fundamentalism or relativism. Thus, this research aims to turn to the roots of the cognitive situation and investigate the way we cognize and relate to the world to provide a better model. As we consider the philosophical theories and empirical investigations of cognition, we come to the conclusion that dualism of the subjective and objective is not tenable. As the findings of contemporary mind sciences and phenomenologically oriented research indicate, human cognition is embodied, embedded, enacted, extended, and shaped by language. Thus, I propose to re-conceptualize the cognitive situation to provide a better philosophical account. I put forward a tripartite model of cognition, which unites language, action, and environment. The consequent application of this model to the issues of truth and religion shows that we can avoid the problem of diversity of truth claims. A tripartite model allows us to explain how we can maintain religion as true, despite the diversity of religious truth claims. Additionally, as this model is fundamental, its application leads to various new findings and inferences, which render anew the world and the way humans relate to it. Thus, our journey brings us to new frontiers of investigation.
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NARRATION PHILOSOPHIQUE ET "APHILOSOPHIE". LES PROBLÈMES DE LA PHILOSOPHIE, DE L'EXPRESSION ET DU SENS CHEZ GADDA ET MERLEAU-PONTYLucia, Lo Marco 19 December 2013 (has links) (PDF)
Ce travail met sur un plan de comparaison deux auteurs apparemment écartées l'un de l'autre: C.E.Gadda et M.Merleau-Ponty. La Meditazione Milanese constitue le premier plan d'approche entre eux: écrite dans le cadre de l'éventuel diplôme de Gadda en philosophie, ce texte est aussi point de référence et de départ de son œuvre littéraire, plus connue et importante. Sur les rélations entre philosophie et littérature s'axe la confrontation avec Merleau-Ponty, qui pérçoit l'exigence d'élargir le domaine de la philosophie à l'art, et la littérature notamment. La première partie, "Une phénoménologie", analyse d'abord la problématique posée à la philosophie et à la littérature par la phénoménologie, et se concentre ensuite sur la comparaison entre la conception merleau-pontienne de corps et les propositions corporelles présentées dans l'œuvre de Gadda. La deuxième partie, "Le baroque", scrute de près les structures du baroque (gaddien et merleau-pontien) à travers l'analyse des notions de structure et de monade, puis des problématiques liées à l'expression et au travail de Saussure; ensuite introduit les thèmes de la multiplicité et du devenir à partir de la confrontation des deux auteurs avec le langage cinématographique. Le chapitre final approfondit le thème gaddien du rapport entre totalité et multiplicité par le biais des figures merleau-pontiennes du chiasme et de la chair, et montre tout acte de language comme déformation, c'est-à-dire tant comme création que comme passivité, où le silence est cosubstantiel aux paroles.
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