Thesis (M.F.A.)--Rochester Institute of Technology, 1982. / Typescript. Includes bibliographical references (leaves 28-29).

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Maxine Greene. Dissertation Committee: Dwayne Huebner. Bibliography: leaves 265-269.

Th. Ph. D.--School of communication--Edwardsville--Southern Illinois University, 1969.

Texte remanié de: Diss.--Philosophische Fakultät--Münster--Westfälische Wilhelms-Universität, 1989.

Thesis (M.A..)--Stony Brook University, 2008. / This official electronic copy is part of the DSpace Stony Brook theses & dissertations collection maintained by the University Libraries, Special Collections & University Archives on behalf of the Stony Brook Graduate School. It is stored in the SUNY Digital Institutional Repository and can be accessed through the website. Presented to the Stony Brook University Graduate School in partial fulfillment of the requirements for the degree of Master of Arts in Philosophy; as recommended and accepted by the candidate's degree sponsor, the Dept. of Philosophy. Includes bibliographical references.

Thesis (Ph.D.)--Duquesne University, 2009. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 284-294) and index.

Diss. / Bibliogr. p. 167-172.

This dissertation explores the significance of figurative art for contemporary cultural life. It is motivated by the fact that such art is often regarded as a thing of the past and largely replaced by works born of more recent movements. I argue that figurative art bears possibilities that are not yet exhausted, and moreover that there is something about our age that calls for the creation of figurative works. The first part addresses a diagnosis of modernity offered by Gregg Horowitz. For him, the triumphant attitude of the age hides our inability to digest a series of traumatic losses - the loss of nature's normativity, of art's significance for cross-generational transmission of values, and of history's demand to carry forward the values of previous generations. He sees in art the opportunity to bring such traumatic loss to reflection, and calls for the aesthetics of mourning as art's contemporary vocation. In order to demonstrate the importance of an element of mourning, the discussion of Horowitz is followed by an account of Gianni Vattimo's attempt to retrieve art from a position of inessentiality. The lack of a tragic moment in his project highlights some of the drawbacks connected to such an omission. In the second part of the project I insist that, though the element of mourning is necessary, we should not stop there in the search for art's contemporary vocation. Using the phenomenology of Heidegger and Merleau-Ponty I sustain the hope that we may recover some form of continuity without disregarding the trauma of loss. Figurative art is particularly suitable for this task because it is more likely to preserve the integrity of its subject matter rather than breaking it down into its constitutive parts, potentially carrying forward elements of past modes of relating to our world.

Despite the burgeoning field of Contemporary Continental Philosophy of Religion and the surfeit of literature on the philosophy of the body, little discusses the connections between the religious practice and the body in any phenomenologically rigorous way. However, one might argue that the phenomenology of incarnation serves as an excellent example of the ways in which the phenomenological innovations achieved by French phenomenologists Merleau-Ponty, Levinas, Michel Henry, and Jean-Luc Marion allow for the study of both the body and the religious to be furthered. Given that the field of French phenomenology is vast, it is essential that we limit our study to but a few phenomenologists whose work is most substantially involved with the problem of incarnate experience, religious experience, embodiment, and the relation to the transcendent. Therefore, this project will proceed by way of working through phenomenology of Maurice Merleau-Ponty, Emmanuel Levinas, Jean-Luc Marion, and Michel Henry in order to explore the resources these four thinkers have for our investigation into incarnate experience. Afterwards, I will attempt to construct a phenomenology of incarnate experience, drawing from their resources and insights into potential problems in hopes of being able to move beyond the problems of "doctrinal importation" and "allusory ambiguity" and further the discourse of philosophy's encounter with religious experience.

Orientadores: Eduardo Sebastiani Ferreira, Maria Aparecida Viggiani Bicudo / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-25T15:45:49Z (GMT). No. of bitstreams: 1 Anastacio_MariaQueirogaAmoroso_D.pdf: 883084 bytes, checksum: 823a87de036716ac9826c7f22f6404e7 (MD5) Previous issue date: 1999 / Doutorado