Dissertations / Theses on the topic 'Dufrenne'

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.

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

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

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?

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?

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.

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.

I think that Mikel Dufrenne should be praised for his Phenomenologie de l'experience esthetique. The reason why I think this is that he attempts to describe aesthetic experience in terms which are wholly amenable to the experience of art itself from a phenomenological point of view. However, I believe that despite his attempts, Dufrenne ventures into an area which is not phenomenologically accessible, namely ontology. In general, it is the purpose of this thesis to show that Dufrenne's venture into the realm of ontology is beyond the phenomenologically given. And more so, that in attempting such a venture, Dufrenne neglects phenomenologically accessible data, namely, the acts which the spectator deploys when he confronts the aesthetic object. Specifically, it is the purpose of this thesis to show this neglect on Dufrenne's behalf by way of identifying the most simple acts contributed by the spectator. This thesis has three main divisions. The first two divisions are primarily expository, although not without criticism. The last division concretizes the criticism of the first two parts and shows my specific point of criticism regarding Dufrenne's text. In effect, the third part could be read as a supplement to Dufrenne's work itself. The first division consists in two chapters. The first chapter of this division is purely expository. It recounts Dufrenne's account of the a priori or the accord between man and world which grounds straightforward perception. The second chapter shows how the subjective moments of perception deploy themselves such that this accord is pregnant with, and capable of reading, meaning. There is, however, a critical overtone to the second chapter. This consists in noting that Dufrenne does not recognize the full extent in which the subject arrests and constitutes the meaning of straightforward perception. The second division consists in three chapters, all of which are expository and firmly delineate the subject matter as properly 'aesthetic'. For Dufrenne, aesthetic perception is demarcated from straightforward perception on the basis of objective as well as subjective content. With this in mind, this second part examines the a priori accord between spectator and aesthetic object, the nature of the aesthetic object itself, the subjective moments which realize its proper meaning, and the ontology by which (1) the aesthetic object has meaning and (2) this object is capable of expressing the reality of Being itself. The critical exposition makes clear that here, as in Dufrenne's notion of straightforward perception, there is a lack of attention paid to the subjective aspects of perception itself, or to say the same thing, the contribution on behalf of the subject by which he recognizes aesthetic meaning proper.

En preliminaire a la premiere partie brachyoures bathyaux recoltes par le marion dufresne au large du bresil, un apercu historique trace les debuts de la carcinologie bresilienne depuis 1500 jusqu'en 1758 (periode pre-linneenne) et de linnaeus jusqu'a nos jours (periode post-linneenne). Dans la premiere partie, sous forme d'une synthese nous presentons les principaux resultats issus de nos travaux sur les brachyoures de la campagne du marion dufresne au bresil (systematique des brachyoures recoltes au cours de la campagne), suivis de remarques sur la repartition geographique de la faune brachyourienne de l'atlantique sud-occidental. La deuxieme partie comprend une etude systematique et phylogenetique des cyclodorippidae ortmann, 1892, mondiaux. Ce groupe, jusqu'a present assez mal connu, renfermait seulement 7 genres et 29 especes. Au terme de ce travail le nombre des genres et des especes s'eleve respectivement a 12 et 44. L'analyse cladistique qui suit la revision systematique prend appui sur l'examen detaille de la morphologie externe et tente de resoudre la question des relations phylogenetiques a l'interieur de la famille elle-meme, et des cyclodorippidae avec les autres podotremata. Les fossiles attribues a ce groupe ont ete pris en compte. La troisieme partie traite des cymonomidae bouvier, 1897, americains. Avant cette revision, cette famille n'etait connu que par deux genres et par 19 especes. Elle s'enrichit ici de trois genres nouveaux et de quatre especes nouvelles. Pour l'ensemble des cyclodorippoidea, c'est donc le double des genres et le tiers des especes qui ont ete decouverts. Des caracteres morphologiques nouveaux, jusqu'a present non pris en compte, ont ete utilises pour la phylogenie (chambre incubatrice, insertion des pleopodes, sternum thoracique, etc. ). Une attention particuliere a ete accordee a la nature morphologique des receptacles seminaux non connectes a l'ovaire (thelycum et spermatheque) chez l'ensemble des decapodes, ce qui a debouche sur des nouvelles definitions de ces structures, entierement basees sur les caracteristiques du squelette axial (tavares et secretan, 1993). A present, la superfamille des cyclodorippoidea devient, apres celle des dromioidea, le groupement le plus riche en genres et en especes des podotremata. Une meilleure comprehension de toutes leurs caracteristiques etait essentielle pour une connaissance plus elargie des crabes primitifs et leurs affinites phylogenetiques

On connaît le personnage de Mezzetin grâce au portrait qu'en a fait Watteau. C'est sans doute le personnage le Commedia dell'arte le plus représenté dans l'iconographie des XVII et XVIIIe siècles. Ce fut Angelo Costantini qui le rendit célèbre. Or, que sait-on de ce comédien et de son personnage? Né à Vérone en 1654, fils d'un comédien-musicien italien, il débute le théâtre en Italie avant d'arriver en France dans la troupe royale en jouant Arlequin en alternance avec Biancolelli. Celui-ci ne lui laissant pas l'occasion de briller, Costantini songea à jouer des interventions fragmentées, imaginant un nouveau type de personnage, mi-aventurier, mi-serviteur, et surtout musicien: Mezzetino, diminutif de mezzetta, c'est-à-dire "demie-portion". Ce nouveau zanni, entre Scapin et Brighella le rendit populaire et le public, appréciant son visage agréable et son jeu expressif, le poussa à jouer sans masque, à visage découvert. Mais le personnage est-il véritablement de l'invention de Costantini? Cette recherche s'attache à déjouer les préjugés qui accompagnent traditionnellement les écrits sur l'acteur. On ne connaît de lui que son histoire parisienne, il a pourtant marqué son époque, ayant été appelé à jouer dans les grandes cours européennes comme celle de Varsovie, Dresde, Madrid ou encore Londres. Nous avons suivi ses traces dans une première partie pour étudier ensuite le personnage de Mezzetin et des particularités. L'un et l'autre furent-ils indissociables?
.We know the character of Mezzetino thanks to Watteau. He is without doubt the character of the Commedia dell'arte the most painted in the 17th and 18th century iconography. It was Angelo Costantini who made him famous. But what do we know exactly about this comedian and his character? Born in Verona in 1654, son of an italian comedian and musician, he starts to play the theater in Italy before coming in France in the royal troupe. To emphasize, he invents a new type adventurer and servant, but mostly musician : Mezzetino, short for mezzetta, which means half portion. This new zanni between Scapino and Brighella made Costantini famous in Paris. The audience liked him very much and forced him to play without a mask because he was handsome. But the character is it really his invention? In this thesis, we attempt to thwart the prejudices which accompany traditionally the papers on the actor. Costantini marked his time, he was called to play in the biggest european courts (Varsovia, Dresden, Madrid or London). We followed his tracks in a first part to study then the character of Mezzetino and his peculiarities. Were both inseparable?

碩士
淡江大學
法國語文學系碩士班
100
According the Phénoménologie de l’expérience esthétique, Mikel Dufrenne attempts to describe aesthetic experience from a phenomenological point of view. This kind of experience allows us to feel the world as the most thorough and most endearing. And more so, this experience is as that of perception that leads to questions about the nature of art and to connect with the artist. So I choose Li Mei Shu, a contemporary artist of my country Taiwan, as a model to interpret this aesthetic experience. The encounter between theory of Dufrenne and paintings of Li would be a possibility of a real experience that allows us to touch the nature of art. This thesis has four main divisions. The first division concretizes Dufrenne’s theory in the Phénoménologie de l’expérience esthétique, placing it in the context of the introduction of phenomenology in France from Sartre and Merleau-Ponty. Then, I try to identify the approach proposed by Dufrenne on pictorial work and to find methods that will be used to analyze the paintings of Li. In the third chapter, I discuss the art of Li, and this division outlines the life and the thinking of this Taiwanese artist. Finally, as the conclusion of my research, we can see the meeting between Li and Dufrenne. In this case, we ask what could be revealed the relationship between the artwork and the point of view through the theory of Dufrenne and paintings of Li. Specifically, I tried to find a new look at paintings of Li. I use five sections to discuss and to characterize the paintings of Li from Dufrenne’s phenomenological aesthetics. According the interpretation of phenomenological aesthetics, we reconnect the world of Li’s art as a spectator. In other words, thanks to the endeavor and passion of Li on his art, through the model of this aesthetic experience, the spectators could reconstruct the relationship between the artwork and the creator.

1 Summary: F. Borecký, The Role of Imagination in Aesthetic Experience in Mikel Dufrenne's Thought The aim of this dissertation thesis is to present Dufrenne's original conception of imagination and to highlight its significance for philosophical aesthetics. We focus on a critical interpretation of two alternative approaches which Dufrenne considers in his work. The first approach is based on a noetic perspective, the other on an ontological one. In both cases, Dufrenne claims that imagination is a productive, effecting activity which in a formative manner participates in knowledge of a priori truths regarding human being in the world. Such knowledge is most fully accomplished in the aesthetic experience. Only there a man opens oneself to the external world while maintaining with it a relation of primordial corporeity, which they both - i.e., both humans and the world - share. Imagination and its correlate, the imaginary, in an aesthetic experience stimulate each other and enable a reverberation of the most fundamental possibilities of human being in the world. It is imagination and the imaginary which enable a man to penetrate the superficial empirical level and reach the deep level of the a priori. On the level of the a priori, a man can experience the original corporeal unity which is of the same kind...

碩士
臺北市立師範學院
視覺藝術研究所
93
The virtue of painting is to let people fling into its aesthetic effect. The most important part that phenomenology allows experience to show is what experience is. In this essay I’m going to focus on the critical analysis of Dufrenne’s “Painting, Forever”. I’ll try to ascertain how phenomenology describes the seer’s aesthetic experience and also try to know what has been said about the painter’s creative gesture. When we are talking about art, I just wonder what kind of theories can interpret it properly? In my essay, Chapter Ⅰ is to explore how some art theories try to interpret art and what are their benefits and defects. And I’ll point out what kind of featured phenomenology has when it deals with art. In this essay I don’t directly discuss how “Painting, Forever” uses the phenomenological method to disclose painting’s thing-in-itself. At first I’ll show the possible correlation between phenomenology and aesthetic experience in the spectator’s viewpoint. And Chapter Ⅱ is to show the similarities and dissimilarities between the purposes of aesthetic experience and phenomenology. Moreover, I’ll propose similarities and dissimilarities between the attitudes of aesthetic experience and phenomenology. My purpose is to let two terms have more dialogical space. Because “Painting, Forever” had been written after The Phenomenology of Aesthetic Experience, I must understand its fruitful results first and this task will present it in Chapter Ⅲ. “Painting, Forever” has the most important insights and thorough issues when discussing painting, so my Chapter Ⅳ will go through theses by The Phenomenology of Aesthetic Experience to explain the treatment “Painting, Forever”. In Chapter Ⅴ I’ll conclude the task I have fulfilled. At the end besides the part of what I have mentioned here, I’ll also promote some suggestions of how to develop the phenomenology in Taiwan’s art field.

Flood basalts on the - 6500 km² Kerguelen Archipelago in the southern Indian Ocean formed in an intraplate location on the Antarctic plate between 29-24 Ma as the Southeast Indian Ridge migrated from - 225 to - 400 km northeast relative to the Kerguelen hotspot. A - 700 m section of basalts exposed at Mt. Marion Dufresne, in the southern part of the Plateau Central, contains both transitional-tholeiitic and mildly alkalic lavas (A.I. -0.8 to 2.0) that are geochemically and isotopically variable, and captures an important period of time (-1 Myr) near the end of flood basalt volcanism on the Kerguelen Archipelago. The basal 300 m of the section consists of low-MgO (<5.2 wt. %) predominantly aphyric lavas characterized by a limited range of "enriched" isotopic compositions (¹⁷⁶Hf/¹⁷⁷Hf =.0.28282-0.28287; ⁸⁷Sr/⁸⁶Sr = 0.7048-0.7050; ¹⁴³Nd / ¹⁴⁴Nd = 0.5126-0.5127; ²⁰⁷Pb / ²⁰⁴Pb = 15.54-15.56) similar to compositions observed in the enriched 24-25 Ma mildly alkalic lavas to the east and southeast (e.g. Mt. Crozier). This aphyric sequence of basalts appears to represent a "steady state" magmatic system where differentiation occurred primarily in a solid-dominated (mush or slurry) environment. Highly calcic (>An ₈₀) plagioclase compositions observed in intercalated plagioclasephyric and ultraphyric basalts from the upper part of this interval signal a change in crystallization environments to relatively shallow (-5-6 km) magma storage and relatively hydrous conditions (>3 wt.% H₂0 ). The low-MgO basaltic lavas are overlain by a thick (-400 m) succession of olivine-phyric high-MgO basalts (7.1-11.4 wt.%) that is interpreted to represent an interval of increased magma supply and eruptive flux. Olivine whole-rock Fe/Mg relations indicate that olivine phenocrysts with ~Fo ₈₀-₈₆ are in equilibrium with parental magma compositions of 8-10 wt% MgO. Unlike the low-MgO lavas, these high-MgO basalts span a range of "depleted" isotopic compositions (⁷⁶Hf/¹⁷⁷Hf = 0.28292-0.28300, ⁸⁷Sr/⁸⁶Sr = 0.7040-0.7046, ¹⁴³Nd / ¹⁴⁴Nd = 0.5127-0.5128, and ²⁰⁷Pb / ²⁰⁴Pb = 15.49-15.52) and represent the first documented occurrence of a depleted mantle component in mildly alkalic basalts from the Kerguelen Archipelago. The presence of this depleted mantle component, which is compositionally similar to that observed in the older 28-29 Ma basalts in the northern part of the archipelago, reflects a short term increase in the extent of melting beneath the oceanic lithosphere and renewed interaction between Southeast Indian Ridge MORB-type asthenosphere and the enriched component of Kerguelen mantle plume at 25 Ma.
Science, Faculty of
Earth, Ocean and Atmospheric Sciences, Department of
Graduate