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Journal articles on the topic 'Dufrenne'

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Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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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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2

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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3

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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5

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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8

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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10

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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11

Milhorim, Thaís Kristine, and Thabata Castelo Branco Telles. "A PERCEPÇÃO ESTÉTICA NA FENOMENOLOGIA DE DUFRENNE: CONTRIBUIÇÕES POSSÍVEIS PARA A PSICOLOGIA." Psicologia em Estudo 23 (May 1, 2018): 137–46. http://dx.doi.org/10.4025/psicolestud.v23i0.39000.

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Estética é um ramo da filosofia que corresponde, de maneira geral, ao estudo da sensibilidade e das artes. Mikel Dufrenne (1910-1995), filósofo francês, é considerado um dos mais prestigiados estudiosos da relação entre arte, estética e fenomenologia. Este estudo busca a compreensão da maneira como se estabelece a constituição da percepção estética na terceira parte da obra Phénoménologie de l’expérience esthétique, de Dufrenne, que trata da fenomenologia da percepção estética. O presente artigo pretende, também, compreender a possível repercussão dessa constituição para as vivências psíquicas humanas. A leitura do material foi realizada com foco nas distintas categorias que compõem a percepção estética para o autor, sendo levantadas suas principais características. Observa-se que a percepção estética, diferente da percepção comum, propicia qualidades que proporcionam novos sentidos e atmosferas, novas formas de ver, pensar ou sentir, para além do que está constituído. Ela possibilita configurar, assim, novas formas de ser e estar no mundo.

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12

Jonkus, Dalius. "Aesthetic A Priori and Embodied Imagination." Social Imaginaries 5, no. 1 (2019): 143–60. http://dx.doi.org/10.5840/si2019518.

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This paper discusses the modern idea of imagination and its various transformations in the phenomenological conceptual frameworks of Edward Casey, Mikel Dufrenne (1910-1995), Max Scheler (1874-1928) and Vasily Sesemann (1884-1963). I would like to raise and critically assess questions regarding the role of imagination in our consciousness: whether imagination is a productive or reproductive activity; and how, if at all, aesthetic expression limits the imagination. Casey criticizes Dufrenne for his attempt to unite imagination with aesthetic expression. He argues for the autonomy of the imagination but leaves the question of the relationship between the imagination and perception unanswered. Dufrenne partially shares his theory of imagination with Sesemann. Both philosophers claim that imagination is a reproductive activity rather than a productive one in the sense that it is limited by the forms of the material a priori. In other words, aesthetic expression has to obey the principle of correlation between percipiens and perceptum. Creativity becomes possible when the creator is able to reproduce in his expression another subject’s possible perceptivity. Max Scheler emphasized the correlative connection of spiritual activity with the world. He linked the concept of imagination to the practical being in the world. In Sesemann’s aesthetics the role of embodied imagination in artistic creation and the perception of aesthetic objects were also considered. Both authors argued that the connection between imagination and the essential modes of the world’s givenness is guaranteed by the mode of embodied imagination. Both acknowledged that imagination is related to unconscious desires and drive. Both authors stated that the schematisms of imagination express the style of the perception of the world. The fact that imagination is an embodied phenomenon is illustrated by the way it exists in the world, since imagination is essentially a free activity restricted only by “the style of the world’s horizon.”

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13

Mendenhall, Vance. "Essai sur l’incompétence esthétique." Articles 10, no. 2 (January 13, 2007): 341–59. http://dx.doi.org/10.7202/203233ar.

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Résumé L'incompétence esthétique pas plus que la perte du public de l'art ne comptent parmi les effets nécessaires de la constitution progressive d'un champ artistique autonome. Habermas, Jauss, Dufrenne font voir que l'incompétence esthétique, comme l'exclusivité de l'art sont des scories de la modernité et davantage des effets d'un type d'organisation sociale, en particulier de la domination d'un seul modèle de réception esthétique.

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14

GEROMINI, Jenifer Cortes Demeterco. "Uma Reflexão sobre a Fenomenologia da Experiência Estética: O Caso do Teatro." PHENOMENOLOGICAL STUDIES - Revista da Abordagem Gestáltica 27, no. 2 (2021): 242–51. http://dx.doi.org/10.18065/2021v27n2.10.

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Art, a fundamentally human subject, has become an important field of study in both philosophy and psychology. It is deemed relevant to think of it from a phenomenological perspective, that regards artistic activities not as a representation, but as an expression. This study aims to consider the actor's/actress's activities based on the book Phénoménologie de l'experience esthétique, the main work by Mikel Dufrenne, a phenomenologist who wrote the most extensive study regarding aesthetics in phenomenology. This task has been accomplished in two stages: a possible explanation about the aesthetic experience as proposed by Dufrenne and, from it, the construction of a reflection about a theater artist's work. The role that art and, above all, the artist plays in the resignification of the world becomes evident, as he is the one who offers the viewer, through an immanent intersubjectivity, a world expressed as a novelty. It is understood that, in addition to the study of specific topics, the study of aesthetic experience in phenomenology, from the Dufrennian perspective, may prove relevant to the comprehension of the human phenomenon in general. Palavras-chave : Aesthetic experience; Phenomenology; Art; Theater.

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15

Bizarro Morais, Carlos. "Da presença de Schelling na estética ontológica de Mikel Dufrenne." STUDIA HEGELIANA 5 (December 1, 2019): 7–16. http://dx.doi.org/10.24310/studiahegelianastheg.v5i.11396.

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Problematizaremos a influência da ideia de Natureza de Schelling no pensamento estético de Dufrenne. Uma influência estruturante mas controversa, dada a sua implicação na perceção-limite que ela auspicia: de indiferenciação, em que sujeito e objeto mutuamente se aderem e se constituem, numa correlação a priori.Ora, esta prodigalidade da Natureza manifesta-se ao propiciar a referida simbiose, e sobretudo ao tornar presente, deixando-o jorrar, um sentido bruto/selvagem, incipiente mas explícito para apontar uma direção de causalidade poiética, gerando a possibilidade de uma interpretação ontológico-metafísica. Torna-se assim tangível uma matriz instauradora, aproximável pela dimensão estético-artística da existência. Daí o seu interesse crítico.

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16

Carreño Cobos, Javier Enrique. "Husserl and Dufrenne on the temporalization of the pictorial space." Anuario Filosófico 51, no. 2 (July 2018): 301–23. http://dx.doi.org/10.15581/009.51.2.301-323.

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17

Bekesi, Janos. "Dufrenne and the Virtual as an Aesthetic Category in Phenomenology." Journal of French and Francophone Philosophy 11, no. 1 (March 3, 1999): 56–71. http://dx.doi.org/10.5195/jffp.1999.151.

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18

Savino, Dener Nascimento. "Arte, obra de arte e objeto estético." ÎANDÉ : Ciências e Humanidades 5, no. 1 (April 5, 2021): 35–43. http://dx.doi.org/10.36942/iande.v5i1.258.

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Este estudo propõe discorrer e comentar alguns aspectos da arte e da obra de arte a partir do pensamento fenomenológico, em especial o pensamento desenvolvido pelo filósofo alemão Martin Heidegger acerca da origem da obra de arte e o pensamento do filósofo francês Mikel Dufrenne acerca da fenomenologia da experiência estética. O artigo também propõe auxiliar na reflexão crítica sobre a busca de uma definição da arte bem como suas características ônticas e ontológicas.

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19

Chateau, Dominique. "Maryvonne Saison, La Nature artiste. Mikel Dufrenne : de l’esthétique au politique." Nouvelle revue d’esthétique 24, no. 2 (2019): 155. http://dx.doi.org/10.3917/nre.024.0155.

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20

KAELIN, E. F. "Dufrenne, Mikel. in The Presence of The Sensuous: Essays in Aesthetics." Journal of Aesthetics and Art Criticism 48, no. 1 (December 1, 1990): 93. http://dx.doi.org/10.1111/1540_6245.jaac48.1.0093.

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21

Vieira, Luanna Michaelly Soares Rodrigues, and José Edilson Amorim. "Memória e Ditadura: Diálogos com a Literatura / Memory and Dictatorship: Dialogues with the Literature." ID on line REVISTA DE PSICOLOGIA 15, no. 56 (July 31, 2021): 628–43. http://dx.doi.org/10.14295/idonline.v15i56.3162.

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Resumo: O objetivo do presente texto é apresentar as potencialidades da literatura no que se refere a capacidade de (re)elaborações de memórias de prisões políticas e tortura no Brasil. Neste artigo será feito uma reflexão de uma memória doída e traumática, tomando a literatura como testemunho e fonte histórica, será considerado produções literárias como o poema “ Os primeiros tempos da tortura" Alex Polari, para esta análise. Para tecer tais reflexões serão acionadas perspectivas importantes no campo discutido, a exemplo de BOSI (1996) DUFRENNE (1969) e ADORNO 2003).

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22

Thérien, Claude. "« L’idée d’un a priori affectif » et la perception esthétique chez Mikel Dufrenne." Nouvelle revue d’esthétique 17, no. 1 (2016): 61. http://dx.doi.org/10.3917/nre.017.0061.

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23

Mond-Kozłowska, Wiesna. "Rhythms of Nature and Culture in the Art of M. K. Ciurlionis." Respectus Philologicus 21, no. 26 (April 25, 2012): 151–60. http://dx.doi.org/10.15388/respectus.2012.26.15483.

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This article aims to grasp the ontological constitutional principle known as correspondances des artes. The affinity of arts is usually interpreted as a functional quality, while the author holds that it is of ontic character as well. This results from the shared ontological reference of all natural phenomena of human life and, consequently, human creative work. Experimental knowledge of this metaphysical truth, according to the composer-synaesthetic Olivier Messiaen, is within the reach of very few people, even less so amongst the artists themselves. Mikalojus Konstantinas Čiurlionis, the Lithuanian composer and painter, was one of those very few. The main argument of the article, which is developed in the realm of the ontology of a piece of art, is the premise that the rhythm factor can serve as grounds for discussion to investigate the nature of the correspondances des artes. This was also the subject matter of the French phenomenologist Mikel Dufrenne’s writings (Dufrenne 1992, pp. 323–324).In addition, the author argues that all so-called organic aesthetics (Tatarkiewicz 1985, p. 84), those who claim that the laws of the creative process depend on the laws of nature, prove the existence of the common and shared ontic base of the world, logos. This base belongs to both natural and created ontological phenomena. The synaesthetic pictorial and musical oeuvre of Čiurlionis is the research field for inferring the initial argument of the paper.

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24

Marin, Andréia Aparecida, and Kátia Maria Kasper. "A natureza e o lugar habitado como âmbitos da experiência estética: novos entendimentos da relação ser humano - ambiente." Educação em Revista 25, no. 2 (August 2009): 267–82. http://dx.doi.org/10.1590/s0102-46982009000200012.

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A percepção que o ser humano tem da natureza e do espaço habitado é marcada pela imaginação, pela afetividade, pela memória e pela sensibilidade estética. O significado da experiência estética está presente tanto nas construções do lugar habitado quanto na contemplação dos ambientes preservados. No presente ensaio, propomos um caminho reflexivo que evidencia essa necessidade estética do humano, focando-a nas categorias natureza e espaços do cotidiano como âmbitos de vivência. Tecemos considerações sobre os possíveis significados da teoria estética para a educação ambiental. Para tanto, partimos do resgate de referenciais teóricos da fenomenologia e do campo da filosofia estética, que incluem Merleau-Ponty, Bachelard, Dufrenne e Quintás.

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25

Rech, Alessandra Paula. "“O sumarento gozo de cantar”: metapoesia como eufemização do tempo em ‘Ode descontínua e remota para flauta e oboé. De Ariana para Dionísio’, de Hilda Hilst." Revista Texto Poético 15, no. 27 (May 28, 2019): 3. http://dx.doi.org/10.25094/rtp.2019n27a599.

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O objetivo é refletir sobre a metapoesia na obra de Hilda Hilst, a partir da análise de Ode Descontínua e Remota para Flauta e Oboé. De Ariana para Dionísio. Entendemos que a passagem do tempo é uma problemática central na obra da poeta. Em Ode descontínua…, o sujeito-lírico dá indícios de exercer a poesia como enfrentamento do tempo, acionando um conjunto de imagens que tem como centro a própria tessitura poética e que parecem minimizar, pela via do imaginário, a temporalidade implacável presente em outros recortes de sua produção. O eixo teórico interdisciplinar contempla, entre outros, Durand, Dufrenne e Pelbart. ---DOI: http://dx.doi.org/10.25094/rtp.2019n27a599

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26

Silva, Gabriela. "A poesia de Fiama Hasse Pais Brandão: o fio do tear de Penélope." Revista Diadorim 20, no. 1 (June 11, 2018): 105–18. http://dx.doi.org/10.35520/diadorim.2018.v20n1a17011.

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O conjunto de poemas reunidos em Visões mínimas (1968-1974), que integra Obra breve de Fiama Hasse Pais Brandão (1938-2007), é o corpus deste ensaio. O objetivo que se apresenta é a busca pela essência da poesia de Fiama, evidenciando determinados elementos que atravessam suas construções líricas formando sua poética particular. Regressar à sua poesia é aproximar-se da natureza mítica das coisas e do fundamento telúrico da escrita. Complementam as hipóteses levantadas neste texto ensaístico, ensaios sobre o fazer poético e suas características, de Mikel Dufrenne, Maurice Blanchot, Octavio Paz, Manuel Gusmão, Silvina Rodrigues Lopes e Sousa Dias, entre outros. Corroboram em aspectos temáticos e biográficos da poeta, ensaístas como Eduardo Lourenço, Eduardo do Prado Coelho, Rosa Maria Martelo, Jorge Fernandes Silveira e António Ramos Rosa.

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Popovic, Una. "Phenomenological aesthetics of music." Theoria, Beograd 60, no. 3 (2017): 212–28. http://dx.doi.org/10.2298/theo1703212p.

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The analysis offered in this paper is focused on the consideration of three examples of phenomenological aesthetics of music. Considerations of music which can be found in N. Hartmann, R. Ingarden and M. Dufrenne represent the focus of the analysis with respect to the key differences between their positions, which are the effect of a different use of the phenomenological method in view of the phenomenon of art. The analysis, therefore, is in all three cases conducted through focusing on the relationship between the phenomenological method and the specific character of music in relation to other arts, as well as through a comparison of these positions. The result of analysis represents an insight into new phenomenological understanding of the formal character of the music, as opposed to the tradition of aesthetics.

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28

VASSILEV, CHRISTIAN. "THE PHENOMENON OF MUSICAL IDENTIFICATION. A VIEW FROM HEIDEGGER’S EARLY PHENOMENOLOGY." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 11, no. 2 (2022): 584–606. http://dx.doi.org/10.21638/2226-5260-2022-11-2-584-606.

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The starting point of the following article are statements by various prominent musical performers of the 20th century who have testified to the life-experience of musical identification, i.e. the experience of unity and oneness with music. The purpose of the article is to explore the phenomenological implications of this experience on the basis of Martin Heidegger’s early phenomenological work. The article compares Heidegger’s early view of phenomenal givenness with that of Edmund Husserl. While Husserl sees phenomenal givenness as constituted by (transcendental) consciousness, Heidegger finds primary givenness in the resonance (Mitschwingen) between the I and its lifeworld. I argue that in Heidegger’s early phenomenology it is not the subject, but rather the relatio between I and world, which “constitutes” givenness. This viewpoint allows for the exploration of musical identification as a life-experience. Musical identification suspends the difference between subject and object. In musical identification, it is the relation between “I” and music, which is constitutive of both. Thus, music cannot be adequately grasped in phenomenological terms if it is regarded simply as an object, which is the premise of more traditional phenomenological approaches to music such as Roman Ingarden’s and Mikel Dufrenne’s. Ingarden and Dufrenne both position music at a distance from the subject, as something to be explored in its objective characteristics, without presupposing the constitutive relation between them. Contrary to them, Hans-Heinrich Eggebrecht, Günther Anders and Ilya Yonchev all recognize that the subject-object divide is insufficient for the exploration of musical experience. However, while Eggebrecht ultimately remains within the subject-object-dichotomy, Anders and Yonchev both develop the idea of musical Mitsein, or Being-with-music, which dispenses with the subject-object premise altogether and interprets musical life-experience as a mode of Being within which the sense of the I and musical sense coincide.

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29

Bobant, Charles. "L’œuvre d’art et l’objet naturel. La problématique extension du concept d’objet esthétique chez Mikel Dufrenne." Transversalités 159, no. 4 (October 4, 2021): 107–20. http://dx.doi.org/10.3917/trans.159.0107.

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30

Foisy, Suzanne. "Mikel Dufrenne. L’oeil et l’oreille. Essai, L’Hexagone, Montréal, 1987, 207 pp, ISBN 2-89006-258-9." Philosophiques 15, no. 1 (1988): 234. http://dx.doi.org/10.7202/027047ar.

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31

Morais, Carlos Bizarro. "A Arte ao Sabor da Moda? Elementos de Crítica da Moda na Perspetiva de Mikel Dufrenne." Revista Portuguesa de Filosofia 70, no. 2-3 (October 1, 2014): 603–12. http://dx.doi.org/10.17990/rpf/2014_70_2_0603.

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32

Velasco, Samuel. "Ficcionalização de si e outros traços performáticos em Poems & Insults, de Bukowski." Boitatá 12, no. 24 (December 27, 2017): 264. http://dx.doi.org/10.5433/boitata.2017v12.e32961.

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Este artigo trata do contexto de produção e circulação da performance Poems & Insults de Charles Bukowski, e também faz uma breve análise da leitura de poemas gravada em 1973 (é imperativo distinguir entre a análise da performance e da mídia gravada), enfatizando o imbricamento de formas culturais na sociedade americana, cuja identidade nacional privilegiava a cultura popular. O conceito de performance é apresentado a partir das definições de Bert States, Peggy Phelan, Paul Zumthor, Mikel Dufrenne, Richard Schechner, Irving Goffman, Ruth Finnegan e Richard Bauman, e a leitura de poemas é analisada segundo os traços performáticos demonstrados e a ficcionalização de si executada pelo autor, o qual performatiza sua persona literária no palco, ao invés de “si mesmo”. Assim, poemas escritos são tornados em breves narrativas durante a performatização, alterando as sensações e sentidos originais do texto escrito pelo meio da voz do autor, recepcionado pela “comunidade de fala” que circundava a histórica livraria City Lights.

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Brusotti, Marco. "„Werde, der du bist!“. Selbsterkenntnis, Handeln und Selbstgestaltung bei Nietzsche in einem Ineditum von Georges Canguilhem." Nietzsche-Studien 50, no. 1 (September 8, 2021): 181–216. http://dx.doi.org/10.1515/nietzstu-2021-500110.

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Abstract In an unpublished text from the early postwar period, Georges Canguilhem deals with Nietzsche’s maxim “Become who you are!” Is this “apparently contradictory formula of a philosopher full of contradictions” really only seemingly inconsistent? Canguilhem regards it as a norm whose supposed metaphysical or objective content dissolves upon further analysis. So he here discerns a new instance of the same potential confusion he had already addressed in his classical essay on The Normal and the Pathological (1943). According to him, the formula “become who you are!” must not be misunderstood in a naturalistic sense, a tendency from which not even Nietzsche himself, Canguilhem thinks, was entirely free. Besides the French philosophy of his time, his philosophical inquiry into “Become who you are!” critically engages two classic German Nietzsche scholars, Ernst Bertram and Karl Jaspers, as well as the French interpreters of the latter’s philosophy of Existenz, Mikel Dufrenne and Paul Ricoeur. Finally, the paper highlights Nietzsche’s specific importance for Canguilhem and the ambivalence in his privileged relationship to the German thinker.

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Brusotti, Marco. "„Werde, der du bist!“. Selbsterkenntnis, Handeln und Selbstgestaltung bei Nietzsche in einem Ineditum von Georges Canguilhem." Nietzsche-Studien 50, no. 1 (August 18, 2021): 181–216. http://dx.doi.org/10.1515/nietzstu-2021-0008.

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Abstract In an unpublished text from the early postwar period, Georges Canguilhem deals with Nietzsche’s maxim “Become who you are!” Is this “apparently contradictory formula of a philosopher full of contradictions” really only seemingly inconsistent? Canguilhem regards it as a norm whose supposed metaphysical or objective content dissolves upon further analysis. So he here discerns a new instance of the same potential confusion he had already addressed in his classical essay on The Normal and the Pathological (1943). According to him, the formula “become who you are!” must not be misunderstood in a naturalistic sense, a tendency from which not even Nietzsche himself, Canguilhem thinks, was entirely free. Besides the French philosophy of his time, his philosophical inquiry into “Become who you are!” critically engages two classic German Nietzsche scholars, Ernst Bertram and Karl Jaspers, as well as the French interpreters of the latter’s philosophy of Existenz, Mikel Dufrenne and Paul Ricœur. Finally, the paper highlights Nietzsche’s specific importance for Canguilhem and the ambivalence in his privileged relationship to the German thinker.

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Venable, Hannah Lyn. "The Weight of Bodily Presence in Art and Liturgy." Religions 12, no. 3 (March 3, 2021): 164. http://dx.doi.org/10.3390/rel12030164.

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This essay addresses the question of virtual church, particularly on whether or not liturgy can be done virtually. We will approach our subject from a somewhat unusual perspective by looking to types of aesthetic experiences which we have been doing “virtually” for a long time. By exploring how we experience art in virtual and physical contexts, we gain insight into the corresponding experiences in liturgical practices. Drawing on Mikel Dufrenne, Maurice Merleau-Ponty and Gabriel Marcel, I first examine the importance of the body when we experience “presence” in aesthetic environments. Next, I consider the weight of the body in experiences of presence in liturgical practices, both in person and virtual, guided again by Gabriel Marcel as well as Bruce Ellis Benson, Emmanuel Falque, Christina Gschwandtner and Éric Palazzo. Through these reflections, I argue that what art teaches us about the significance of the physical closeness of the human applies to the practice of liturgy and that, while unexpected benefits will surface in virtual settings, nothing replaces the powerful experiences that arise when the body is physically present.

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Lipták, Michal. "Body, Music and Electronics: Pierre Schaeffer and the Phenomenology of Music." Studia Universitatis Babeș-Bolyai Philosophia 67, no. 1 (April 5, 2022): 45–74. http://dx.doi.org/10.24193/subbphil.2022.1.03.

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"The article presents a phenomenological investigation of body and music, with particular emphasis on electronic music. The investigation builds on theoretical framework developed in phenomenological investigations in art by Edmund Husserl, Mikel Dufrenne and Roman Ingarden. It is guided beyond these analyses by investigations of particular musical examples in avant-garde acoustic and electronic music. In the former case it tackles music from which body is being consciously erased. In the latter case, the erasure occurs instantly. This negative approach elucidates the function of body in music. In case of electronic music, the article focuses on writings and music of pioneer of musique concrète, Pierre Schaeffer. Central argument is that electronic music always has been and still is defined by absence of body, here phenomenologically considered as Leib. As a consequence of the phenomenological elucidation, it is ultimately shown that erasure of body has been one of the avant-garde music’s crucial techniques, and that this avant-garde residue remains in electronic music as such, both experimental and mainstream. Keywords: Schaeffer, Husserl, phenomenology, music, body, aesthetics "

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Casey, Ed. "The Place of the Sublime: Toward a Postmodern Sublime in the Wake of Kant and in Honor of Dufrenne." Journal of French and Francophone Philosophy 11, no. 1 (March 3, 1999): 6–22. http://dx.doi.org/10.5195/jffp.1999.419.

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Heimonen, Kirsi. "Walking in a cage: Attuning to atmospheric intensities through corporeality." Choreographic Practices 12, no. 1 (July 1, 2021): 47–66. http://dx.doi.org/10.1386/chor_00028_1.

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This article discusses an artistic act: walking for seven sequential days inside a cage made of chicken wire in the grounds of a former mental hospital in Lapinlahti in Helsinki, Finland and its potential to offer insights into past events in mental hospitals through the notions of corporeal attunement and atmosphere. The idea for Walking Cage was prompted by a word in the data, which included memories by patients and non-patients of Finnish mental hospitals gathered in connection with a multidisciplinary research project. Passers-by, occasional co-walkers, weather conditions and the grounds of the former mental hospital partially formed and deformed the atmospheric qualities of the artistic research event. These qualities were experienced through corporeal attuning influenced by the Skinner Releasing Technique, a somatic movement method. The article proposes a singular way of approaching the possibilities of corporeal openness and sensibility in a choreographic process in which, illuminated by, among others, the notions of threshold and limit, one becomes a stranger to oneself by surrendering oneself to atmospheric intensities. This artistic research study adopts a phenomenological approach, drawing mainly on the ideas of Jean-Luc Nancy, Mikel Dufrenne and Emmanuel Levinas.

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Foisy, Suzanne. "Maryvonne Saison. La Nature artiste. Mikel Dufrenne de l’esthétique au politique, Paris, Éditions de la Sorbonne, coll. « Philosophie », 2018, 180 pages." Philosophiques 46, no. 2 (2019): 473. http://dx.doi.org/10.7202/1066787ar.

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de Boucaud, Michel. "Histoire : Psychiatrie et philosophie. 1947–2017. Un grand anniversaire. Le premier ouvrage de Paul Ricœur et Mikael Dufrenne : Karl Jaspers et la philosophie existentielle." Annales Médico-psychologiques, revue psychiatrique 175, no. 7 (September 2017): 670–73. http://dx.doi.org/10.1016/j.amp.2017.07.005.

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Tabachnick, Konstantin R., Larisa L. Menshenina, Daniela A. Lopes, and Eduardo Hajdu. "Two new Hyalonema species (Hyalonematidae: Amphidiscosida) from eastern and south-eastern Brazil, and further Hexactinellida (Porifera) collected from seamounts off south-eastern Brazil by the RV ‘Marion Dufresne’ MD55 expedition." Journal of the Marine Biological Association of the United Kingdom 89, no. 6 (April 15, 2009): 1243–50. http://dx.doi.org/10.1017/s0025315409000253.

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Descriptions of hexactinellid sponges collected by the RV ‘Marion Dufresne’ MD55 expedition on the Vitória–Trindade seamounts chain (off Espírito Santo State, south-eastern Brazil) in 1987 and stored in the MNHN (Muséum National d'Histoire Naturelle in Paris) are presented. Hyalonema (Cyliconema) conqueror sp. nov. (the first finding of this subgenus in the Atlantic Ocean) and H. (Prionema) dufresnei sp. nov. (the second record of this subgenus for the Atlantic Ocean) are described as new species. The holotype of H. (C.) conqueror sp. nov. was collected with a ROV at Campos Basin (off Rio de Janeiro State, south-eastern Brazil), while the paratypes originated from Vitória–Trindade seamounts chain and off Bahía State (eastern Brazil). Other hexactinellids reported here, Farrea sp., Sarostegia aff. oculata, Aphrocallistes aff. beatrix, Dactylocalyx aff. subglobosus and Euplectella suberea were known before to be widely distributed in the Atlantic Ocean. The total number of hexactinellid sponges known from Brazil has risen to 15 and from the south-western Atlantic to 23.

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Heneraliuk, Lesia. "Ways of cross-media research formation." Слово і Час, no. 3 (May 26, 2020): 3–27. http://dx.doi.org/10.33608/0236-1477.2020.03.3-27.

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The paper offers to extend the historical time frame of modern cross-media studies formation. The start of this research direction dates not from the 1950-60s, as it is usually considered to be, but from the early 20th century, the ‘synthesis epoch’. Development of neosyncretism was accompanied by creating bright theories in aesthetics and art criticism and promoting the concept of arts’ interaction by the humanities. Three scholars — H. Wolfin, M. Dessoir, and A. Warburg were the pioneers of the modern interdisciplinary research field. The author considers that the range of influences on the cross-media studies in literary criticism should be broadened with the works of philosophers and art critics who started to use the cross-media strategies (not the term itself) when analyzing the works of literature and arts. The leading role belonged to the Iconology school (E. Panofsky, R. Wittkower, E. Gombrich et al.). Their methods were based on applying tools of various disciplines. In the first place, they took into account connections between literature and visual arts. Henceforth, philology interpolated the iconological method into visual and comparative studies. One of the contemporary leading cross-media researchers, W. J. T. Mitchell, named his first book “Iconology: Image, Text, Ideology” (1986). In the middle of the 20th century, philosophy had a considerable influence on the cross-media research formation. In particular, literary critics referred to phenomenology (the works by M. Dufrenne, R. Ingarden. M. Merleau-Ponty) and actualized the analysis of interacting arts once more. A visual turn in culture caused growing attention to the issues of apperceptive cross-sensual experience. The newest works in the fields of perception psychology, gestalt psychology, neurolinguistics, and neurophysiology also support the general cross-media theory. It is possible that, due to the mutual influences of sciences, a uniform platform for studying syncretic phenomena will be created.

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Rider, B., and B. Valkó. "Matrix Dufresne Identities." International Mathematics Research Notices 2016, no. 1 (May 11, 2015): 174–218. http://dx.doi.org/10.1093/imrn/rnv127.

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Dufrene, Phoebe, and Cecelia F. Klein. "From Phoebe Dufrene." Art Journal 49, no. 4 (1990): 449. http://dx.doi.org/10.2307/777150.

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Borecký, Felix. "Koncepce a priori Mikela Dufrenna." AUC PHILOSOPHICA ET HISTORICA 2015, no. 2 (June 6, 2016): 57–79. http://dx.doi.org/10.14712/24647055.2016.4.

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DUFRESNE, RAYMOND G., and ROSS M. CAMPBELL. "Reply from Drs. Dufresne and Campbell." Dermatologic Surgery 32, no. 2 (March 15, 2006): 332. http://dx.doi.org/10.1111/j.1524-4725.2006.32063_2.x.

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Ko, Bangwon, and Andrew C. Y. Ng. "“Stochastic Annuities,” Daniel Dufresne, January 2007." North American Actuarial Journal 11, no. 3 (July 2007): 170–71. http://dx.doi.org/10.1080/10920277.2007.10597475.

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Courchesne, Marie-Ève. "Dialogue avec Mme Colette Dufresne-Tassé." Muséologies: Les cahiers d'études supérieures 1, no. 2 (2007): 94. http://dx.doi.org/10.7202/1033610ar.

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Bosser, Pierre, Joël Van Baelen, and Olivier Bousquet. "Routine Measurement of Water Vapour Using GNSS in the Framework of the Map-Io Project." Atmosphere 13, no. 6 (June 2, 2022): 903. http://dx.doi.org/10.3390/atmos13060903.

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The "Marion Dufresne Atmospheric Program - Indian Ocean" (MAP-IO) project is a research program that aims to collect long-term atmospheric observations in the under-instrumented Indian and Austral Oceans. As part of this project, a Global Navigation Satellite System (GNSS) antenna was installed on the research vessel (R/V) Marion Dufresne in October 2020. GNSS raw data is intended to be used to retrieve Integrated Water Vapour (IWV) content along the Marion Dufresne route, which cruises more than 300 days per year in the tropical and austral Indian Ocean. This paper presents a first assessment of this GNSS-based IWV retrieval, based on the analysis of 9 months of GNSS raw data acquired along the route of the R/V Marion Dufresne in the Indian Ocean. A first investigation of GNSS raw data collected during the first 5 months of operation has highlighted the bad positioning of the antenna on the R/V that makes it prone to interference. Changing the location of the antenna has been shown to improve the quality of the raw data. Then, ship-borne GNSS-IWV are compared with IWV estimates deduced using more conventional techniques such as European Centre for Medium-range Weather Forecasts (ECMWF) fifth reanalysis (ERA5), ground-launched radiosondes and permanent ground GNSS stations operating close to the route of the R/V Marion Dufresne. The rms difference of 2.79 kg m−2 shows a good match with ERA5 and subsequently improved after the change in location of the GNSS antenna (2.49 kg m−2). The match with ground-based permanent GNSS stations fluctuates between 1.30 and 3.63 kg m−2, which is also shown to be improved after the change in location of the GNSS antenna. However, differences with ground-launched radiosondes still exhibit large biases (larger than 2 kg m−2). Finally, two operational daily routine analyses (at day+1 and day+3) are presented and assessed: the rms of the differences are shown to be quite low (1 kg m−2 for the day+1 analyses, 0.7 kg m−2 for the day+3 analysis), which confirms the quality of these routine analysis. These two routine analyses are intended to provide a continuous monitoring of water vapour above the Indian Ocean and deliver ship-borne IWV with a low latency for the entire scientific community.

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Shaikhullina, A. A., E. P. Dubinin, A. A. Bulychev, and D. A. Gilod. "Comparative analysis of the structure of the tectonosphere of the Conrad and Afanasy Nikitin Rises by geophysical data (the Indian Ocean)." Moscow University Bulletin. Series 4. Geology, no. 2 (April 28, 2019): 88–93. http://dx.doi.org/10.33623/0579-9406-2019-2-88-93.

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A two-dimensional density modeling is performed for profiles crossing the seamounts of the Conrad Rise (Lena, Ob and Marion Dufresne), which are located in the southwestern part of the Indian Ocean and the Afanasy Nikitin Rise, which is located in the central part of the Indian Ocean. According to the assumptions of a number of researchers, the seamount Marion Dufresne and the Afanasy Nikitin Rise were formed as a result of the hotspot 83–73 million years ago. The results of two-dimensional density modeling showed a similar structure of the crust and lithosphere, which confirms the probability of their formation 83–73 million years ago as a result of the action of a single hotspot. Also on the basis of the obtained results, the assumption is confirmed that the seamounts Lena and Ob of the Conrad Rise were formed afterwards due to the continuation of the action of the hotspot under the Antarctic Plate.

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