Relevant bibliographies by topics / Dufrenne

Academic literature on the topic 'Dufrenne'

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Published: 4 June 2021
Last updated: 10 March 2023

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Journal articles on the topic "Dufrenne"

1

Fitzpatrick, Colleen. "The Dialogue between Painting, Mindfulness and Dufrenne’s Aesthetics." Culture and Dialogue 7, no. 1 (May 7, 2019): 61–86. http://dx.doi.org/10.1163/24683949-12340057.

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Abstract This paper examines the dialogical relationship between painting and mindfulness. This premise is explored with reference to the aesthetics of Mikel Dufrenne. Dufrenne’s arguments make use of a number of features that characterise mindful practice and reflect mindfulness philosophy. Dufrenne’s phenomenology of aesthetic experience centres on being present, focused, non-judgemental and attentive to the aesthetic object in order to realise its signification. These concepts are also given primary importance in Buddhist philosophy of mindfulness. Dufrenne’s theory lends itself ideally to understanding aesthetic experience in relation to mindfulness as well as how these experiences complement one another. Although Dufrenne does not prioritise painting, the present paper will explore painting in particular due to its embodied, gestural nature, which utilises the notion of style, reflecting the artist’s mode of being-in- the-world. Dufrenne’s ideas allow both mindfulness and painting to be understood in more comprehensive terms than that of their meanings considered individually.
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Silva, Carlos Nogueira da. "O objecto estético como mundo, na phénoménologie de l’expérience esthétique i, de mikel dufrenne." Phainomenon 3, no. 1 (October 1, 2001): 57–66. http://dx.doi.org/10.2478/phainomenon-2001-0010.

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Abstract With this article we intend to explore the concept of «esthetical object» proposed in Dufrenne’s text entitled La Phénoménologie de l’experience estéthique I. The potentiality/activity binomial appears as the ground for Dufrenne’s definition of esthetical object as perceived work of art. According to this, the happening of any artwork truly finds its proper place in esthetical experience, which arises as the meeting point of art’s expressive potentiality and the spectator’s perception act. Establishing an accurate distinction between esthetical perception and other kinds of human perception, Dufrenne sees the former as the pure presence of the sensitive. Advocating the inseparability of significant and signification for the esthetical object, the author declares the meaning of esthetical experience as immanent to its own sensitive presentation. Dufrenne presents authentic esthetical perception as something, which has the power to, engage subjectivity in a radical experience. Under the light projected by the work of art, human beings are enabled to actualise other modes of being-in-the-world. With expression as its proper signifying mode, the esthetical object reveals itself as a world beginning, proposing an affective atmosphere, which opens the subject of esthetical experience to new existential possibilities.
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Rockmore, Tom. "Dufrenne, Humanism, and Anti-humanism." Journal of French and Francophone Philosophy 11, no. 1 (March 3, 1999): 72–83. http://dx.doi.org/10.5195/jffp.1999.152.

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4

Figurelli, Roberto. "A ESTÉTICA DE MIKEL DUFRENNE." Veritas (Porto Alegre) 45, no. 2 (December 31, 2000): 195. http://dx.doi.org/10.15448/1984-6746.2000.2.35056.

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O texto delineia a relação entre aprodução teórica sobre a estética de M. Dufrennee a herança fenomenológica husserliana, a partirde um estudo da estrutura da Phénoménologie deJ'expérience esthétique.
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Chamois, Camille. "Rapports à autrui et personnalité de base dans les premiers travaux de Mikel Dufrenne." Dialogue 60, no. 2 (August 2021): 337–58. http://dx.doi.org/10.1017/s0012217321000275.

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RésuméCet article souligne l'originalité et la pertinence des premiers travaux de Mikel Dufrenne (notamment publiés entre 1946 et 1953) pour les sciences humaines contemporaines. Sous l'influence de Georges Gurvitch, Dufrenne s'est en effet intéressé de près à l'anthropologie culturelle américaine et notamment au concept de « personnalité de base » d'Abram Kardiner, auquel il tente de donner une consistance philosophique à partir, d'une part, de la tradition transcendantale kantienne et, d'autre part, de la théorie du Mitsein heideggérienne. Nous montrons que ce projet se heurte à la question proprement psychologique de l'historicité des catégories de l'expérience.
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6

Saison, Maryvonne. "Souriau, Dufrenne and the notion of contemplation." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, no. 2 (February 6, 2023): 37–48. http://dx.doi.org/10.36253/aisthesis-13922.

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En 1961, un article de Souriau relevant une difficulté signalée en 1953 par Dufrenne porte sur la juste part à accorder à la contemplation dans la relation à l’art. La zone d’ombre concernant la relation humaine et intellectuelle entre les deux hommes fera l’objet d’un premier examen. L’hypothèse souralienne d’une transmutation de conceptions théologiques dans le domaine de l’art sera ensuite examinée par rapport à Dufrenne sans évacuer la question de sa pertinence par rapport aux études phénoménologiques ultérieures. La question de la relation à l’art, telle que Souriau l’envisage ressurgira dans sa pleine actualité jusque dans le face à face avec les œuvres.
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7

Gram, Nina. "Mobile Music Listening – an aesthetic and aestheticizing practice." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (December 1, 2013): 187–99. http://dx.doi.org/10.7146/se.v3i1-2.15648.

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How are we to conceptualize the experiences of mobile music listeners as they move through the city listening to a private soundtrack? The phenomenon has been described as an aestheticization of urban space (Bull, 2002, 2005, 2007; Hosokawa 1984 a.o.), and this perspective seems to focus on the listeners’ wish to alter and manipulate the impression of the surroundings. This article, however, explores and re-thinks how the terms aestheticization and aesthetic experience may be used to describe the specific relationship between the listener and the surroundings, which is established through the act of listening. To support this focus and claim I refer amongst others to Morten Kyndrup’s thoughts on the aesthetic relation (Kyndrup, 2008a) and Mikel Dufrenne’s theory on the aesthetic object as a perceived object (Dufrenne, 1973, 2001).
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De la Calle, Román. "Mikel Dufrenne. Fenomenología de la Experiencia Estética." Revista Sonda: Investigación y Docencia en Artes y Letras 8 (December 31, 2019): 217–25. http://dx.doi.org/10.4995/sonda.2019.18294.

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9

Werle, Marco Aurélio. "MIKEL DUFRENNE: A FENOMENOLOGIA DA EXPERIÊNCIA ESTÉTICA." Sapere Aude 6, no. 12 (January 1, 2016): 456. http://dx.doi.org/10.5752/p.2177-6342.2015v6n12p456.

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RESUMOTrata-se de explorar a relação entre a fenomenologia e a estética a partir da obra crítica de Mikel Dufrenne, na qual vemos uma aproximação entre fenomenologia e filosofia da existência por meio da arte. PALAVRAS-CHAVE: estética, fenomenologia; experiência estética
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FURTWÄNGLER, Circé. "Déformaliser l’a priori. Dufrenne entre phénoménologie et Naturphilosophie." Philonsorbonne, no. 16 (February 27, 2022): 259–74. http://dx.doi.org/10.4000/philonsorbonne.2448.

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Dissertations / Theses on the topic "Dufrenne"

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Morais, Carlos. "O impulso metafísico na experiência estética : itinerário da fenomenologia "afectiva" de Mikel Dufrenne." Doctoral thesis, Faculdade de Filosofia de Braga, 2010. http://hdl.handle.net/10400.14/7240.

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A presente investigação centrar-se-á na obra de Mikel Dufrenne dedicada à reflexão estética, especialmente naquela em que o autor explicita mais sistematicamente a sua concepção de experiência estética. Pretende-se averiguar se, nos limites dessa concepção, admite a possibilidade de uma dimensão metafísica interior ao processo da vivência estética, e em que bases filosóficas estabelece essa possibilidade. Sendo uma hipótese controversa, esperamos assim, modestamente, contribuir para a valorização crítica do legado estético e filosófico que Mikel Dufrenne nos deixou através da sua estimulante obra, no ano em que se comemoram o centenário do seu nascimento e os quinze anos da sua morte (1910-1995). Mais amplamente, é nosso desejo – através das pistas daquele autor – trazer de novo para o miolo do debate estético as instâncias da reflexão ontológica e metafísica que têm sido secundarizadas desde que as vagas do relativismo pós-moderno invadiram o debate cultural e filosófico. Seguiremos o autor na fixação de uma versão fenomenológica da estética, a fim de sublinhar que já nesse projecto conceptual é possível encontrar opções metodológicas e sistemáticas originais que apontam para a presença de um “impulso” que rompe com as delimitações categoriais do vivido. O alinhamento temático que proporemos nos capítulos dois e três pretende consolidar a imagem de uma experiência estética que evolui gradualmente para patamares mais intensos e profundos da vivência, e cujo âmbito de implicação fenomenológica, antropológica e ontológica nos consolida a convicção de estarmos diante de uma seiva metafísica que a alimenta. Contudo, estamos conscientes de que Dufrenne hesitou bastante no momento de traduzir filosoficamente este horizonte de sentido metafísico da experiência estética. Este facto também terá contribuído para que outros intérpretes fossem levados a formular leituras bastantes discrepantes daquela que aqui propomos. Porém, tal como pretendemos mostrar no último capítulo, não é este défice de explicitação que nos impedirá de encontrar os frutos estéticos e afectivos, espirituais e intelectuais que provêm da experiência estética fluidificada pela abertura metafísica, ou seja, pela abertura ao absoluto. Dado apresentarmos essas conclusões, estamos convictos de que o itinerário de Mikel Dufrenne, enquanto fenomenólogo, ficou mais completo e credível.
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Liao, Jen-I. "Le sensible dans la phenomenologie francaise : de husserl a merleau-ponty et dufrenne." Paris 10, 1997. http://www.theses.fr/1997PA100096.

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Ce travail se propose d'etudier la notion de "sensible" en remontant d'abord a l'oeuvre de husserl, le fondateur de la phenomenologie, et en abordant ensuite l'interpretation ontologique et esthetique dans l'oeuvre de merleau-ponty et dans celle de dufrenne. C'est essentiellement une recherche des limites du sensible. Nous la divisons en trois parties. Dans la premiere partie, nous reflechissons sur la "reduction phenomenologique" et ses significations dans la definition husserlienne du sensible. La reduction phenomenologique est a la fois de "depassement" et la "conservation" de l'attitude naturelle. Et c'est dans cette bilateralite de la reduction phenomenologique que se realise la constitution du "monde de la vie" et que s'approfondit la signification de la notion de sensible. Dans la deuxieme partie, nous nous engageons dans la "rehabilitation ontologique" du sensible qu'entreprend merleau-ponty et que reprend dufrenne. Cette rehabilitation nous invite a concevoir le sensible a partir de l'experience corporelle et nous permet de revenir a la familiarite primordiale du corps et du monde ou le sensible se comprend comme "couche originaire" anterieure a la division des sens. C'est en ce sens que le sensible prepare le chemin au monde primordial ou est nee l'oeuvre d'art. Dans la troisieme partie, nous nous attachons a expliquer le "tournant esthetique" qui caracterise la phenomenologie francaise. Nous soulignons que ce n'est pas l'esthetique qui se sert de la phenomenologie, mais qu'au contraire, c'est la phenomenologie qui s'approfondit dans l'esthetique. La lecture de dufrenne nous permet de dire que le monde de l'oeuvre d'art est un terrain sur lequel se realise le but que la phenomenologie veut atteindre. Cette recherche des limites du sensible se termine donc dans une ontologie phenomenologique de l'oeuvre d'art
This thesis proposes to study the concept of the "sensible", tracing first of all back to the works of husserl, the founder of phenomenology, and then analyzing the ontological and aesthetical interpretation in the works of merleau-ponty and those of dufrenne. This research is mainly an investigation of the limits of the "sensible". This thesis is divided into three parts. In the first part, we study the "phenomenological reduction" and its significances in the husserlian definition of the "sensible". The phenomenological reduction is at the same time the "transcendence" and the "conservation" of the natural attitude. And it is in this bilaterality of the phenomenological reduction that the constitution of the "life-world" is made possible and the significance of the concept of the "sensible" deepened. In the second part, we engage in the "ontological rehabilitation of the sensible" undertaken by merleau-ponty and dufrenne respectively. This rehabilitation invites us to conceive the "sensible" from corporal experience and allows us to return to the primordial familiarity of the body and the world where the "sensible" can be comprehended as the "couche originaire" before the division of the senses. It is in this sense that the "sensible" leads us to the primordial world in which the work of art was first born. In the last part, we devote ourselves to the explication of the "aesthetical turn" which charasterizes french phenomenology. We emphasize that it is not aesthetics that makes use of phenomenology, but, on the contrary, it is aesthetics that makes phenomenology more profound. The reading of dufrenne permit us to say that the world of art is a territory on which the goal of phenomenology can be reached. This research on the limits of the "sensible" thus ends with a phenomenological ontology of the work of art
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Cuculiza, Maria Nelly. "DUFRENNE, Mikel. Estructura y sentido. La crítica literaria. En : Estructuralismo y Literatura (Buenos Aires, Editorial Nueva Visión, 1972)." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/114336.

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Zervou, Alexandra K. "Art et nature dans l'esthétique phénoménologique française : M. Merleau-Ponty et M. Dufrenne : la rencontre du logos philosophique avec le logos de l'art." Paris 1, 1987. http://www.theses.fr/1989PA010502.

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Cette these essaie de montrer que la pensee phenomenologique de m. Merleau-ponty et de m. Dufrenne suit cette direction de la derniere pensee de husserl qui descend vers la nature, vers cette element resistant a la phenomenologie, auquel la phenomenologie tendra a assurer sa place. En essayant de penser l'impense husserlien m. Merleau-ponty et m. Dufrenne arriveront a l'idee de la nature en tant qu'originaire, matrice de possibles, champ general de l'etre qui est en perpetuel devenir et qui, donc, ne peut pas etre survole, ne peut pas etre concu comme un objet dresse devant la conscience. La nature que cette pensee decouvre est le non-identique, le non-maitrisable, ce qui resiste a la raison identitaire et propose un autre mode de rapport avec l'etre que celui de la domination en demontrant en meme temps l'impossibilite d'une conscience constituante. L'art, d'autre part, en tant qu'expression, en tant que logos expressif et createur, fait - en realisant, meme a titre d' utopie, l'image d'un monde ou la separation sujet - objet est depasse, ou les rap- ports de l'homme au monde n'obeissent pas au principe de la domination - preuve de cette nature originaire et principe de resitance. - logos de l'art et logos philosophique se rencontrent, donc, dans la mesure ou tous les deux sont une inter- rogation continue du reel, dans la mesure ou ils ne refletent aucune verite donnee, mais, en tant que langages expressifs et createurs, s'efforcent de la realiser. En plus, l'art et l'experience esthetique constituent une voie privilegiee pour une philosophie qui se veut radicale, qui veut se liberer de liens qui l'attachent a la pensee de fondation, a la pensee
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Grant, Stuart. "Gathering to Witness." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2057.

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People gather. Everywhere. They gather to witness. To tell and to listen to stories. To show what was done, and how what is to be done might best be done. To perform the necessary procedures to make sure the gods are glorified and the world continues to be made as it should. To dance, to heal, to marry, to send away the dead, to entertain, to praise, to order the darkness, to affirm the self. People are gathering. As they always have—everywhere. Doctors, lawyers, bankers and politicians don evening wear to attend performances in which people sing in unearthly voices in languages they do not understand, to sit in rows, silent, and to measure the appropriate length of time they should join with each other in continuing to make light slapping noises by striking the palms of their hands together to show their appreciation at the end of the performance. One hundred thousand people gather on the last Saturday of September every year in a giant stadium in the city of Melbourne, Australia at the “hallowed turf” of the Melbourne Cricket Ground, to watch 36 men kick, punch and catch an oval shaped ball with each other, scoring points by kicking it between long sticks planted in the ground. The gathered multitude wears the same ritual colours as the men playing the game. They cry out, stand and sing anthems. This game is played and understood nowhere else in the world, but in the Melbourne cultural calendar it is the most important day of the year. It is what makes Melbourne Melbourne. Before the whitefella came, aborigines from the clans of the Yiatmathang, Waradjuri Dora Dora, Duduroa, Minjambutta, Pangerang, Kwatt Kwatta—the wombat, kangaroo, possum, Tasmanian tiger, echidna, koala and emu, would gather on the banks of the Murray River, near what is now the twin cities of Albury/Wodonga to organize marriages, perform initiations, to lay down weapons, to dance, to settle debts and disputes, to tell stories, to paint their bodies, and to request permission from the Yiatmathang to cross the river and make the climb to the top of Bogong High Plains in late spring, to feast on the Bogong moths arriving fully grown after their flight from Queensland, ready to be sung, danced and eaten. On the island of Sulawesi, a son of a family bears the responsibility of providing the largest possible number of buffalo to be sacrificed at the funeral of his father. A sacrifice which will condemn the son to a life of debt to pay for the animals which must be slaughtered in sufficient number to affirm the status of his family, provide enough meat to assure the correct distributions are made, and assure that his father has a sufficiently large herd in Puya, the afterworld. Temporary ritual buildings for song and dance must be constructed, effigies made, invitations issued. Months are spent in the preparations. And then the people will arrive, family, friends, colleagues and tourists, in great numbers, from surrounding villages, from Ujung Pandang, from Jakarta, from Australia, from Europe, from the USA, to sing, dance, talk, look and listen. And if the funeral is a success, the son will gain respect, status and honour for himself, and secure a wellprovided journey to the afterlife for his father. In a primary school playground, in an outer suburb of any Australian city, thirty parents sit in a couple of rows of metal and plastic chairs on a spring afternoon to watch their own and each other’s children sing together in hesitant or strident voices, in or out of time and tune versions of well-known popular songs praising simple virtues are applauded; the younger the children, the greater the effort, the longer and louder the applause. Some of these people are the same doctors, bankers and lawyers who had donned evening wear the night before at opera houses, now giving freely of the appreciative palm slapping sound held so precious in that other environment. And they will gather and disperse and regather, at times deemed appropriate, at the times when these gatherings have always occurred, these lawyers, doctors, sons, mothers, sports fans, when and where they can and should and must, to sing, to dance, to tell stories, to watch and listen, to be there with and among each other bearing witness to their faith, their belief, their belonging, their values. But what, in these superficially disparate, culturally diverse and dispersed groups of people, what draws them, what gathers an audience, what gathers in an audience, and what in an audience is salient for the audience members? What gathers, what gathers in an audience?
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Grant, Stuart. "Gathering to Witness." University of Sydney, 2007. http://hdl.handle.net/2123/2057.

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Doctor of Philosophy
People gather. Everywhere. They gather to witness. To tell and to listen to stories. To show what was done, and how what is to be done might best be done. To perform the necessary procedures to make sure the gods are glorified and the world continues to be made as it should. To dance, to heal, to marry, to send away the dead, to entertain, to praise, to order the darkness, to affirm the self. People are gathering. As they always have—everywhere. Doctors, lawyers, bankers and politicians don evening wear to attend performances in which people sing in unearthly voices in languages they do not understand, to sit in rows, silent, and to measure the appropriate length of time they should join with each other in continuing to make light slapping noises by striking the palms of their hands together to show their appreciation at the end of the performance. One hundred thousand people gather on the last Saturday of September every year in a giant stadium in the city of Melbourne, Australia at the “hallowed turf” of the Melbourne Cricket Ground, to watch 36 men kick, punch and catch an oval shaped ball with each other, scoring points by kicking it between long sticks planted in the ground. The gathered multitude wears the same ritual colours as the men playing the game. They cry out, stand and sing anthems. This game is played and understood nowhere else in the world, but in the Melbourne cultural calendar it is the most important day of the year. It is what makes Melbourne Melbourne. Before the whitefella came, aborigines from the clans of the Yiatmathang, Waradjuri Dora Dora, Duduroa, Minjambutta, Pangerang, Kwatt Kwatta—the wombat, kangaroo, possum, Tasmanian tiger, echidna, koala and emu, would gather on the banks of the Murray River, near what is now the twin cities of Albury/Wodonga to organize marriages, perform initiations, to lay down weapons, to dance, to settle debts and disputes, to tell stories, to paint their bodies, and to request permission from the Yiatmathang to cross the river and make the climb to the top of Bogong High Plains in late spring, to feast on the Bogong moths arriving fully grown after their flight from Queensland, ready to be sung, danced and eaten. On the island of Sulawesi, a son of a family bears the responsibility of providing the largest possible number of buffalo to be sacrificed at the funeral of his father. A sacrifice which will condemn the son to a life of debt to pay for the animals which must be slaughtered in sufficient number to affirm the status of his family, provide enough meat to assure the correct distributions are made, and assure that his father has a sufficiently large herd in Puya, the afterworld. Temporary ritual buildings for song and dance must be constructed, effigies made, invitations issued. Months are spent in the preparations. And then the people will arrive, family, friends, colleagues and tourists, in great numbers, from surrounding villages, from Ujung Pandang, from Jakarta, from Australia, from Europe, from the USA, to sing, dance, talk, look and listen. And if the funeral is a success, the son will gain respect, status and honour for himself, and secure a wellprovided journey to the afterlife for his father. In a primary school playground, in an outer suburb of any Australian city, thirty parents sit in a couple of rows of metal and plastic chairs on a spring afternoon to watch their own and each other’s children sing together in hesitant or strident voices, in or out of time and tune versions of well-known popular songs praising simple virtues are applauded; the younger the children, the greater the effort, the longer and louder the applause. Some of these people are the same doctors, bankers and lawyers who had donned evening wear the night before at opera houses, now giving freely of the appreciative palm slapping sound held so precious in that other environment. And they will gather and disperse and regather, at times deemed appropriate, at the times when these gatherings have always occurred, these lawyers, doctors, sons, mothers, sports fans, when and where they can and should and must, to sing, to dance, to tell stories, to watch and listen, to be there with and among each other bearing witness to their faith, their belief, their belonging, their values. But what, in these superficially disparate, culturally diverse and dispersed groups of people, what draws them, what gathers an audience, what gathers in an audience, and what in an audience is salient for the audience members? What gathers, what gathers in an audience?
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Kim, Hwa-Ja. "L'élaboration de la perception esthétique à partir des oeuvres de Maurice Merleau-Ponty et de Mikel Dufrenne : devant les tableaux all-over de Jackson Pollock." Paris 10, 2000. http://www.theses.fr/2000PA100165.

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L'art abstrait qui refuse toute figuration est considere comme le retour a la subjectivite solipsiste d'un individu. Nous avons elabore la perception esthetique a partir de la perception phenomenologique de maurice merieau-ponty et de mikel dufrenne, parce que merleau-ponty a bien eclaire l'aspect prereflexif de la perception a travers la relation intentionnelle du corps et de l'objet, et que dufrenne a bien montre la fonction du sentiment a la fois epistemologique et phenomenologique a travers l'interpretation ontologique sur l'a priori qui permet au recepteur l'intuition esthetique, pour demontrer que le geste expressif du pollock dans les tableaux all-over n'est pas le retour au spirituel d'un individu, mais l'avenement du sensible a la presence qui exprime encore la verite d'un monde eprouve par lui. Les trois plans de la perception esthetique qui sont la presence, la representation et la reflexion, explorent successivement la matiere sensible par le corps, la signification du sujet, ou du titre par l'imagination, et les regles, les codes conventionnels par l'entendement, le sens profond et invisible par le sentiment. La perception esthetique elaboree a partir de l'esthetique phenomenologique nous permet de sentir que le geste expressif dans les tableaux all-over de pollock n'est pas le retour a la subjectivite absolue d'un individu, mais l'apotheose du sensible a ta presence qui nous permet d'eprouver la verite universelle et humaine au dela de toutes les differences.
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Roose-Debut, Marie-Clotilde. "Désir d'être et parole poétique : de la tentative phénoménologique à la tentation métaphysique : d'une lecture de Mikel Dufrenne à une lecture des poètes : Yves Bonnefoy, Philippe Jaccottet, François Jacqmin, Roberto Juarroz, Annie Reniers." Lyon 3, 2006. https://scd-resnum.univ-lyon3.fr/in/theses/2006_in_roose_mc.pdf.

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La thèse part d'une intuition : " la parole poétique jaillit-elle du paradoxal désir d'être ? " Pour y répondre, elle propose une 1ère définition des termes, justifie les approches méthodologiques (phénoménologie, herméneutique, psychanalyse) et les auteurs choisis. Elle interroge la phénoménologie de M. Dufrenne, confrontée à la lecture de poètes (20ème s. ) : Y. Bonnefoy, Ph. Jaccottet, R. Juarroz, F. Jacqmin, A. Reniers. Elle explore la description de l'expérience poétique par Dufrenne, qui en analyse les conditions de possibilité, et formule l'hypothèse de son origine, s'inspirant de Spinoza et Schelling. Ici " la tentation métaphysique " de passer du transcendantal à l'ontologique fait l'objet d'une critique, mettant en cause la spéculation " utopique ", outrepassant les limites de l'expérience et la parole singulière des poèmes décrits. La question vise alors l'éthique du désir du sujet, auquel répond l'éclairage de psychanalystes (J. Triol, D. Vasse, A. Didier-Weill,. . . ). Enfin, la nature du désir d'être se précise à l'écoute des textes des poètes. Tension entre éros et thanatos, le désir d'être est à la fois assomption d'une finitude et acquiescement au don infini de l'Autre.
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Dentzer, Julie Ghislaine. "Francois Dufrene, Les Dessous." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562432553753444.

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Ausperk, Ryan. "Phenomenology, Imagination, and Aesthetic Experience." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398270498.

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Books on the topic "Dufrenne"

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La nature artiste: Mikel Dufrenne : de l'esthétique au politique. Paris: Éditions de la Sorbonne, 2018.

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Pita, António Pedro. A experiência estética como experiência do mundo: A estética segundo Mikel Dufrenne. Porto: Campo das Letras, 1999.

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Messori, Rita. Poetiche del sensibile: Le parole e i fenomeni tra esperienza estetica e figurazione : Merleau-Ponty, Ricoeur, Dufrenne, Maldiney. Macerata: Quodlibet, 2013.

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Ducharme, André. Diane Dufresne: Cendrillon kamikaze. Montréal: Éd. Mnémosyne, 1994.

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Guille, A. MD55/Bre sil: A bord du "Marion Dufresne", 6 mai-2 juin 1987. [Paris]: Mission de recherche des Terres australes et antarctiques franc ʹaises, 1987.

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Guille, A. MD55/Brésil: À bord du "Marion Dufresne", 6 mai-2 juin 1987. [Paris]: Mission de recherche des Terres australes et antarctiques françaises, 1987.

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Poitou, Jean-Claude. Nous les mineurs. / Pref. d'Augustin Dufresne. Paris: Federation nationale des travailleurs du sous-sol CGT, 1989.

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Pierre Dufresne: Mon ami, mon frère. Montréal: Éditions de l'Époque, 1985.

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Jean-V. Dufresne, journaliste de métier. Montréal (Québec): Leméac, 2003.

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H, Park Y., Institut français pour la recherche et la technologie polaires., and Muséum national d'histoire naturelle (France). Laboratoire d'océanographie physique., eds. Recueil des données de la campagne MD 68/SUZIL: À bord du "Marion Dufresne", 12 avril-20 mai 1991. [Paris]: Institut français pour la recherche et la technologie polaires, 1993.

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Book chapters on the topic "Dufrenne"

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Casey, Edward S. "Mikel Dufrenne (1910–1995)." In Handbook of Phenomenological Aesthetics, 81–84. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2471-8_16.

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Berman, Michael. "Dufrenne and Merleau-Ponty: A Comparative Meditation on Phenomenology." In Phenomenology and Existentialism in the Twentieth Century, 145–60. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2725-2_10.

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Rusten, Einar. "From Heidegger to Dufrenne, and Back: Bildung Beyond Subject and Object in Art Experience." In Philosophy of Music Education Challenged: Heideggerian Inspirations, 213–28. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9319-3_13.

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Bailleul, Ismael. "Une preuve simple d’un résultat de Dufresne." In Lecture Notes in Mathematics, 203–13. Berlin, Heidelberg: Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/978-3-540-77913-1_10.

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Brereton, Geoffrey. "The Cynical Generation: Dancourt, Regnard, Dufresny, Lesage." In French Comic Drama from The Sixteenth to The Eighteenth Century, 163–93. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003279945-8.

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Stratford, Linda. "Challenge to a National School at Risk: Mikel Dufrenne’s The Phenomenology of Aesthetic Experience (1953)." In Metamorphosis, 129–39. Dordrecht: Springer Netherlands, 2004. http://dx.doi.org/10.1007/978-1-4020-2643-0_10.

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Jean, Grégori. "DUFRENNE, Mikel." In Les théoriciens de l'art, 185–88. Presses Universitaires de France, 2017. http://dx.doi.org/10.3917/puf.talon.2017.03.0185.

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Stanguennec, André. "L’esthétique de Mikel Dufrenne." In Mikel Dufrenne et l’esthétique, 39–54. Presses universitaires de Rennes, 2016. http://dx.doi.org/10.4000/books.pur.183201.

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Dufourcq, Annabelle. "Dufrenne et Merleau-Ponty." In Mikel Dufrenne et l’esthétique, 161–79. Presses universitaires de Rennes, 2016. http://dx.doi.org/10.4000/books.pur.183261.

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Saison, Maryvonne. "Mikel Dufrenne 1946-1953." In L’angle mort des années 1950, 83–105. Éditions de la Sorbonne, 2016. http://dx.doi.org/10.4000/books.psorbonne.97017.

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Reports on the topic "Dufrenne"

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Hillaire-Marcel, C., and J.-L. Turon. IMAGES 5 on board the Marion Dufresne, 2nd leg 30 June - 24 July 1999. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1999. http://dx.doi.org/10.4095/210951.

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