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The Global ETD Search service is a free service for researchers
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Saving Flesh, Redeeming Body: Phenomenologies of Incarnation and Resurrection in the Thought of Michel Henry and Emmanuel FalqueNovak, Mark January 2021 (has links)
This thesis examines two French Catholic phenomenologists whose work engages in a serious manner with embodiment and theological phenomena. Michel Henry (1922-2002) and Emmanuel Falque (b. 1963) are both connected with the “theological turn” in French phenomenology. By using the tools of phenomenology, these thinkers take aim at the general phenomena of flesh and body and the religious phenomena of incarnation and resurrection. In this thesis I seek to uncover how their philosophical foundations inform their theological work, how they articulate a phenomenology of the body and the flesh in relation to incarnation and resurrection, and which thinker might provide a better account of these. I begin by providing a succinct overview of phenomenology—as articulated by Edmund Husserl and Martin Heidegger—paying attention to the phenomenological distinction between flesh (Leib) and body (Körper) that is vital to Henry’s and Falque’s analysis of incarnation and resurrection. I then lay out Dominique Janicaud’s critical labelling of the “theological turn” in French phenomenology in 1991, as well as responses by those who continue to knowingly operate under that label. I then critically examine the work of Henry and Falque, first by laying out their philosophical approach and method, and then by working through each of their theological trilogies, showing how the former influences the latter. My analysis reveals that both Henry and Falque have a similar understanding of a phenomenology of resurrection, in that it is a move from body to flesh. What my analysis also shows is that although Falque is critical of Henry’s position on the incarnation for neglecting materiality and completely understanding the human being as flesh, Falque’s critical response to it ironically mirrors it: by turning to material forces and drives to better describe the body in his recent work, Falque recapitulates Henry’s understanding of flesh. / Dissertation / Doctor of Philosophy (PhD)
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[en] ARCHITECTURES OF DISAPPEARANCE / [de] ARCHITEKTUREN DES VERSCHWINDENS / [pt] ARQUITETURAS DO DESAPARECIMENTOSILVANA CASTRO NICOLLI 12 April 2021 (has links)
[pt] Este trabalho examina o fenômeno de retomada da estética da transparência
na arquitetura a partir dos anos 1990, depois de anos de latência desde a
substituição da linguagem moderna, abstrata e etérea, das primeiras vanguardas
por outra que expressasse aspectos regionais e fenomenológicos. Tal retomada
estaria associada ao desenvolvimento das novas tecnologias digitais e à realidade
estruturada segundo a dinâmica do capitalismo pós-industrial. Estas configurariam
uma estrutura urbana desmaterializada, instável e independente da construção
física. Tais mudanças teriam tornado obsoletos os paradigmas da solidez,
funcionalidade e beleza, herdados da tradição clássica. A tendência ao
desaparecimento das qualidades substanciais da arquitetura e a consequente perda
dos referenciais fenomenológicos nos recolocou a questão do habitar. A estética
da transparência estaria inicialmente associada à concepção iluminista, que
pressupunha a clareza dos objetos e a emancipação do sujeito, mas se desdobrará
no sentido da ambiguidade em função da ruptura com o conceito de espaço
euclidiano, ocorrida em torno de 1910. Tal ruptura teria sido promovida tanto
pelas descobertas científicas que unificavam as dimensões de tempo e espaço,
quanto pela disseminação de imagens aéreas cinematográficas. As imagens
retratavam o espaço topológico e apresentavam a realidade sob a ordem da
fragmentação e da perda de perspectiva. A concepção de espaço topológico foi
também associada aos sentimentos de angústia e desenraizamento,
experimentados pelo homem moderno. A expressão dessa patologia nas artes de
vanguarda será criticada por fomentar a desarticulação do engajamento político
através de um método que promoveria a perda de visão da totalidade do real. Tal
método teria sido desenvolvido por Wilhelm Worringer a partir da noção de
Vontade de Arte, expressa no impulso para abstração, este relativo ao conceito do
espaço topológico. Este trabalho verificou que tal mudança na concepção de
espaço levará à reformulação do conceito de transparência de literal para
fenomênica, caracterizada nas artes pela representação de múltiplos pontos de
vista, da interpenetração espacial e da perda de profundidade. A transparência
fenomênica será associada contemporaneamente ao espaço paranoico, que viria
sendo desenvolvido com a contribuição da tecnologia digital em termos espaciais
e da mutação dos corpos segundo sua conexão com a realidade virtual. A
tecnologia cibernética determinaria um novo tipo de expressão da alienação e o
desdobramento da noção de transparência, que qualificamos como abjeta. A
transparência foi associada pelos primeiros modernos à expressão de japonidade
na arquitetura, cuja essência o desenvolvimento da história tratou de contrariar ao
evidenciar seu modo interativo. Verificamos neste trabalho algumas das
contribuições japonesas em função de suas qualidades locais. Tomamos o edifício
para a Midiateca Sendai (2001) de Toyo Ito como objeto de estudo. A Midiateca
levaria ao extremo a noção de transparência ao estendê-la das fachadas às
estruturas vazadas, pensadas como expressão do espaço puro na linguagem
abstrata moderna. Seu programa seria multifuncional e aberto a mudanças,
considerando a participação da comunidade e dos demais membros institucionais
desde o processo de projeto. Esta obra responderia tanto à questão da autonomia
artística quanto à da perda de função social, associadas ao esteticismo das
vanguardas modernas. / [en] This dissertation examines the phenomenon of the revival of the aesthetics
of transparency in architecture since the 1990s, when the expression of regional
and phenomenological aspects has been replaced by a modern, abstract and
ethereal language. This revival has been associated with the development of new
digital technologies and with post-industrial capitalism, producing dematerialized
and unstable urban structures which are independent of their physical
construction. Such changes would have rendered the classical tradition paradigms
of solidity, functionality and beauty obsolete. The tendency towards the
disappearance of the substantial qualities of architecture and the consequent loss
of phenomenological references has brought us back to the question of dwelling.
The aesthetics of transparency has been associated with the Enlightenment and it
presupposes clarity of objects and emancipation of the subject. However, around
1910, it produced a sense of ambiguity due to the rupture with the concept of
Euclidean space. Such a rupture may have been promoted both by the scientific
discoveries that unified the dimensions of time and space, and by the
dissemination of cinematographic aerial images. These images portrayed the
topological space and presented a fragmented reality without perspective. The
conception of topological space has also been associated with the feelings of
anguish and uprooting of the modern human being. The expression of this
pathology in the avant-garde arts has been criticized for fomenting the
disarticulation of the political engagement through a method that would promote
the loss of a complete vision of reality. Wilhelm Worringer has allegedly
developed the method from the notion of the Will to Art expressed as an urge to
abstraction, which is related to the concept of topological space. The present
study verified that such a change in the conception of space leads to a literal and
phenomenal reformulation of the concept of transparency, which is characterized
in the arts by the representation of multiple points of view, spatial interpenetration
and loss of depth. Phenomenal transparency is nowadays associated with a
paranoid space, which is developed with the contribution of digital technology in
spatial terms and the transformation of bodies according to their connection with
virtual reality. Cybernetic technology may be determining a new kind of
expression of alienation of the notion of transparency, which we consider to be
abject. The early moderns have associated transparency with the expression of
Japan-ness, which has been described as essentially interactive. Here we verify
some of the Japanese contributions due to their local qualities. Our object of study
is the Sendai Mediatheque (2001), by Toyo Ito. This building takes the notion of
transparency to the extreme by extending it from the facades to the hollow
structures, which is considered an expression of pure space in modern abstract
language. Its program is multifunctional and open to change, and the community
and other institutional members are involved with the project. Ito s work brings
into question the artistic autonomy as well as the loss of social function, which is
associated with the aestheticism of modern avant-gardes. / [de] Subjekts voraussetzte. Um 1910, wird es wird aber zweideutig aufgrund des Bruches mit dem Begriff des euklidischen Raums. Dieser Bruch wurde sowohl durch die wissenschaftliche Entdeckungen der Vereinheitlichung der Dimensionen von Zeit und Raum gefordert, , als auch durch die Verbreitung kinematografischer Luftbilder. Diese Bilder portratierten den topologischen Raum und prasentierten eine fragmentierte Realitat mit Perspektivverlust. Die Konzeption des topologischen Raums war auch mit den Gefuhlen der Angst und Entwurzelung des modernen Menschen verbunden. Der Ausdruck dieser Pathologie bei der kunstlerischen Avantgarde wird zur Forderung des Abbaus des politischen Engagements durch ein Verfahren kritisiert werden, die den Verlust des Sehvermogens der Gesamtheit der Wirklichkeit fordern wurden. Diese Methode soll von Wilhelm Worringer aus dem Begriff der Kunstwollen entwickelt worden sein. Sie ist durch den Abstraktionsdrang ausgedruckt, und ist auf den Begriff des topologischen Raumsbezogen. Diese Studie ergab, dass eine solche Anderung in der Gestaltung des Raumes auf die Neuformulierung des Konzepts der Transparenz von wortliches zu phanomenale fuhren wird, was in der Kunst durch mehrere Gesichtspunkte, raumlichen Dringen und Verlust der Tiefe gekennzeichnet ist. Phanomenale Transparenz wird gleichzeitig mit paranoidem Raum assoziiert, der mit dem Beitrag der digitalen Technologie in raumlicher Hinsicht und der Mutation von Korpern entsprechend ihrer Verbindung mit virtueller Realität entwickelt wird. Die kybernetische Technologie wurde einen neuen Ausdruck der Entfremdung und die Entfaltung des Begriffs der Transparenz bestimmen, was wir als abjekt bezeichnen. Transparenz wurde in der Modernitat mit Japan-heit verbunden. Ihr interaktiven Modus wurde in der Geschichte demonstriert. Wir uberprufen in dieser Arbeit einige der japanischen Beitrage mit ihren lokalen Qualitaten. Unser Untersuchungsobjekt ist das Gebaude fur die Mediathek in Sendai (2001), von Toyo Ito. Die Mediathek nimmt den Begriff der Transparenz zum Extrem, da ihre Fassaden sich an den hohlen Strukturen erweitert. Diese Strukturen sind ein Ausdruck des reinen Raumes in der modernen abstrakten Sprache. Die Mediathek ist multifunktional und veranderungsfahig, und die Gemeinschaft ist am Projekt beteiligt. Das Werk von Toyo Ito stellt in Frage die kunstlerische Autonomie als Verlust der sozialen Funktion entsprechen, die mit dem Asthetizismus der modernen Avantgarde verbunden ist.
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Action in Chronic Fatigue Syndrome: an Enactive Psycho-phenomenological and Semiotic Analysis of Thirty New Zealand Women's Experiences of Suffering and RecoveryHart, M J Alexandra January 2010 (has links)
This research into Chronic Fatigue Syndrome (CFS) presents the results of 60 first-person psycho-phenomenological interviews with 30 New Zealand women. The participants were recruited from the Canterbury and Wellington regions, 10 had recovered. Taking a non-dual, non-reductive embodied approach, the phenomenological data was analysed semiotically, using a graph-theoretical cluster analysis to elucidate the large number of resulting categories, and interpreted through the enactive approach to cognitive science.
The initial result of the analysis is a comprehensive exploration of the experience of CFS which develops subject-specific categories of experience and explores the relation of the illness to universal categories of experience, including self, ‘energy’, action, and being-able-to-do.
Transformations of the self surrounding being-able-to-do and not-being-able-to-do were shown to elucidate the illness process.
It is proposed that the concept ‘energy’ in the participants’ discourse is equivalent to the Mahayana Buddhist concept of ‘contact’. This characterises CFS as a breakdown of contact. Narrative content from the recovered interviewees reflects a reestablishment of contact.
The hypothesis that CFS is a disorder of action is investigated in detail.
A general model for the phenomenology and functional architecture of action is proposed. This model is a recursive loop involving felt meaning, contact, action, and perception and appears to be phenomenologically supported.
It is proposed that the CFS illness process is a dynamical decompensation of the subject’s action loop caused by a breakdown in the process of contact.
On this basis, a new interpretation of neurological findings in relation to CFS becomes possible. A neurological phenomenon that correlates with the illness and involves a brain region that has a similar structure to the action model’s recursive loop is identified in previous research results and compared with the action model and the results of this research. This correspondence may identify the brain regions involved in the illness process, which may provide an objective diagnostic test for the condition and approaches to treatment.
The implications of this model for cognitive science and CFS should be investigated through neurophenomenological research since the model stands to shed considerable light on the nature of consciousness, contact and agency.
Phenomenologically based treatments are proposed, along with suggestions for future research on CFS. The research may clarify the diagnostic criteria for CFS and guide management and treatment programmes, particularly multidimensional and interdisciplinary approaches.
Category theory is proposed as a foundation for a mathematisation of phenomenology.
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