Dissertations / Theses: 'Merlau'

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Filho, Ronaldo Manzi. "Quando os corpos se invadem: Merlau-Ponty às voltas com a psicanálise." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-08112013-120854/.

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Pretendemos realizar um exame crítico do debate do filósofo Merleau-Ponty com as teorias psicanalíticas contemporâneas a ele, mostrando como tal foi determinante no desenvolvimento de seu pensamento. Não se trata de mostrar que há somente uma convergência entre a sua interpretação da psicanálise com a fenomenologia, mas uma verdadeira necessidade de diálogo. Longe de afirmar que este tenha sido o único debate importante de Merleau-Ponty com as não-filosofias ou que ele foi homogêneo em sua obra, pretendemos mostrar como alguns conceitos clínicos foram incorporados em seu trabalho se confundindo com os próprios conceitos-chave que o filósofo cunhou para cumprir seu projeto filosófico.
Our objective is to perform a critical analysis of the debate between the philosopher Merleau-Ponty and the psychoanalytical theories contemporaries with him, demonstrating how this debate was determining in the development of his thought. We do not aim at demonstrating that his interpretation of psychoanalysis simply meets the phenomenology, but that it configures itself as a real need for dialog. Far from stating that this was Merleau-Pontys only important dialog with the non-philosophies or that his work is homogeneous, we aim at demonstrating how some clinical concepts were embodied in his work, fading among the key concepts created to accomplish his philosophical project.

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VARGAS, MUNOZ JUVENAL 170471, and MUNOZ JUVENAL VARGAS. "La destrucción de la ontología clásica en la obra de Heidegger y Merlau-Ponty." Tesis de doctorado, Universidad Autónoma del Estado de México, 2018. http://hdl.handle.net/20.500.11799/98931.

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Se desarrolla la superación de la metafísica clásica a través del tópico de la deconstrucción ontológica a partir de dos autores fundamentales del siglo XX tales como son Heidegger y el francés Merleau-Ponty

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Fontenelle, Plinio Santos. "Da percepção à visão radical do mundo: a condição de abertura do plano de imagens no percurso de Merlau-Ponty." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-04022015-121548/.

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O presente trabalho objetiva oferecer uma leitura do pensamento de Maurice Merleau- Ponty desde a tese inicial de 1945, Fenomenologia da percepção à obra inacabada O visível e o invisível, no que diz respeito a um percurso sobre as imagens pictóricas nesta filosofia. O foco central pretendido para este itinerário, não só suscita as imagens nas obras de vários artistas citados pelo filósofo francês, tendo a referência essencial às pinturas de Paul Cézanne, como busca justamente compreender certa organização do trabalho pictórico realizada pelos artistas para o ato de criação das obras de arte. Para isso, chamamos de plano das imagens o modo como os autores se abrem à organização estruturante das obras desde a sua concepção à entrega delas aos sujeitos percipientes. Conforme esta linha de articulação pretendida, enveredamos no percurso citado a fim de explicitar, primeiramente, na fase fenomenológica do filósofo, o contexto no qual se verifica a percepção das imagens da arte moderna e o sentido que elas têm diante da questão central do corpo próprio e da pintura clássica que se preocupou em representar o mundo conforme a nítida captação da natureza. Mediante a expressão que possui cada artista, Merleau-Ponty nos permite pensar quanto ao segundo passo, na linguagem expressiva que abre o sujeito ao outro numa significação atrelada ao mundo. Cézanne é o artista que especialmente restabeleceu com suas imagens a expressão que ultrapassa perspectivas de um mundo pronto e determinado. Como último ponto deste trabalho, procuramos elucidar a plasticidade das imagens como condição de envolvimento carnal no mundo, para tanto, centramos nossa leitura na direção merleau-pontyana dada para o pacto visível que os pintores têm com as imagens e por meio das quais eles terminam organizando um ato fecundo de criação graças ao plano de imagens que eles constroem e conforme a sua tarefa dinâmica.
The present work has as objective a reading of Maurice Merleau-Ponty since his inicial thesis in 1945, Perception Phenomenology to his unfinished work The visible and the invisible, in what concerns a route over the pictorial images of this philosophy. The main focus for this route, not only raises the images in the works of various artists cited by the French philosopher, having as the essential reference the paintings of Paul Cézanne, as it rightly seeks to understand certain \"organization\" of the pictorial work by the artists for the act of artwork creation. To achieve this, well use the expression pictures plane in reference to the way the authors open themselves to the structural organization of their works from their conception to their deliver to the percipient audiences. As follows this line of articulation, we set the \"route\" to explain, firstly, the phenomenological phase of the philosopher, the context in which appears the perception of images of modern art, and the sense that they have on the central question of \"own body\", and of classical painting that focused in representing the world as a clear depiction of nature. Upon the expression that each artist has Merleau-Ponty allows us to think, concerning the second instance, about the expressive language that opens the subject audience to the others self in a meaning linked to the world. In the final instance of this work, we sought to elucidate the plasticity of the images as a condition of carnal involvement in the world, therefore, focusing our reading on Merleau-Pontys direction given to the visible pact that painters have with images and through which they finish \"organizing\" a fruitful act of creation thanks to the pictures plan they construct and to its dynamic task.

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Andrade, André Dias de. "Intersubjetividade em Merleau-Ponty." reponame:Repositório Institucional da UFPR, 2015. http://hdl.handle.net/1884/37401.

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Orientador: Prof. Dr. Luiz Damon Santos Moutinho
Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Letras e Artes, Programa de Pós-Graduação em Filosofia. Defesa: Curitiba, 26/02/2015
Inclui referências
Área de concentração: História da filosofia moderna e contemporânea
Resumo: Este trabalho desenvolve questões sobre como a intersubjetividade é tematizada e quais as dificuldades que tal noção enfrenta na filosofia de Merleau-Ponty. Primeiramente, estudamos a abordagem fenomenológica de uma dimensão de experiência comum – a percepção –, partindo da generalidade para então demarcar os limites da subjetividade. Trata-se, na Fenomenologia da Percepção, de investigar a relação entre eu e outro tendo em vista o elo que os une através do corpo próprio. Em seguida passamos ao exame de teses intermediárias da obra de Merleau-Ponty, a fim de pensar a intersubjetividade no âmbito da linguagem. Se num primeiro momento havia uma dimensão de solidão que faz par com a comunicação, ainda em 1945, com os trabalhos em torno do fenômeno da fala este silencio vai passar a ser considerado de outra maneira. Buscamos entender quais as consequências para a intersubjetividade ao se pensar aquele campo comum da experiência como um campo diacrítico, em que o Eu e o Outro não são anteriores à relação. Por fim, examinamos como os elementos descobertos com a fenomenologia da linguagem permitem a Merleau-Ponty pensar a intersubjetividade a partir dum pano de fundo ontológico – o sensível – e, assim, vertê-la em intercorporeidade. Palavras-chave: Merleau-Ponty; Ego; alter Ego; Intersubjetividade; Intercorporeidade.
Abstract: This academic work develops questions about how intersubjectivity is tematized and about which are the difficulties that this notion faces on Merleau-Ponty’s philosophy. Firstly we study the phenomenological approach of a common ground of experience – the perception –, tarting of generality to line off the limits of subjectivity. In Phenomenology of Perception the goal is to investigate the relation between I and other aiming the tie tha bunds then throught the body proper. Afterward we examinate Merleau-Ponty’s middle thesis in order to think intersubjectivity in the field of language. If, at a starting point, there were a dimension of silence and loneliness along with the communication, still in 1945, with the works around the phenomenon of speech this silence will be considered otherwise. We seek to understand wich are the consequences among intesubjectivity when one thinks that common field of experience as a diacritical field, where I and other don’t subsists to relation. Finally, we examine how the elements discovered on the phenomenology of language allow Merleau-Ponty to think intersubjectivity from an ontological stanground – the sensible – and, furthermore, turn it into intercorpority. Keywords: Merleau-Ponty; Ego; alter Ego; Intersubjetividade; Intercorporeidade

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Cappoccia, Nilce. "Expressão em Merleau-Ponty." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19946.

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This study contemplates a reflection on the philosophy of Maurice Merleau-Ponty, whose main texts and triggers were The Doubt of Cézanne and The Eye and the Spirit, which articulated the theme of expression, mainly pictorial expression, as a form of sensitive creative manifestation. The painting is presented as a visible manifestation of any effort developed by the painter in contact with his object of study, in a meditative process. The artist experiences and makes use of the body, finding in the gestures and in the perception all the lived experience. The philosopher takes up painting as a path and theme for reflection
Este estudo contempla uma reflexão sobre a filosofia de Maurice Merleau-Ponty, cujos textos principais e desencadeadores foram A Dúvida de Cézanne e O Olho e o espírito, que articularam a temática da expressão, principalmente da expressão pictórica, como forma de manifestação criativa sensível. A pintura é apresentada como manifestação visível de todo esforço desenvolvido pelo pintor em contato com seu objeto de estudo, num processo meditativo. O artista vivencia e faz uso do corpo, encontrando, nos gestos e na percepção, toda a experiência vivida. O filósofo retoma a pintura como caminho e tema para a reflexão

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Barbaras, Renaud. "L'ontologie de Merleau-Ponty." Lyon 3, 1990. http://www.theses.fr/1990LYO31003.

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L'objet de ce travail est de reconstituer et de prendre la mesure de l'ontologie de merleau-ponty, telle qu'elle s'elabore dans le visible et l'invisible. Il s'agit pour lui de penser ensemble la transcendance irreductible du sensible et la possibilite de la signification, telle qu'elle s'atteste dans l'expression linguistique. Une telle prespective le conduit a recuser l'opposition du fait et de l'essence, opposition qui recouvre en realite une meme attitude ontologique, consistant a penser l'etre comme positivite et la connaissance comme adequation ou coincidence. En tant que le monde sensible est dicible, il s'avere irreductible a l'ordre du fait; mais en tant que la signification s'incarne dans une parole, et s'enracine donc dans le monde sensible, elle s'avere irreductible a l'ordre de l'essence. Le refus de cette opposition conduit merleau-ponty a une critique symetrique de l'eidetique husserlienne et de la dialectique sartrienne. . . L'experience doit etre comprise comme chair, c'est-a-dire comme un processus de phenomenalisation par lequel l'etre vient a lui-meme, s'exprime dans l'element d'une visibilite, se presente en se dissimulant. L'analyse de la visibilite, element irreductible a la ponctualite du vu comme a l'idealite de la vision permet alors de rendre compte des differentes strates constitutives d'une experience totale, depuis la transcendance objective, correlative d'une intercorporeite, jusqu'a l'univers de l'idealite transparaissant dans l'element de la parole
The purpose of this work is to reconstitute and estimate the ontology of merleauponty, built up in "le visible et l'invisible". The question is for him to conciliate the irreducible transcendancy of the perceptible world and the possibility of the meaning, testified by the linguistic expression. This purpose leads him to challenge the opposition between the facticity and the essence, opposition which in fact refers to a single ontological attitude, consisting in thinking the being as positivity and the knowledge as adequation or coincidence. In so far as the perceptible world can be said, it proves irreducible to the facticity; but in so far as the meaning is embodied in words, it proves irreducible to the essence. The refusal of this opposition leads merleau-ponty to criticize symetrically the eidetical philosophy of hussel and the dialectical philosophy of sartre. . . It is necessary to grasp the experience as "chair", that is to say as a process of phenomenalisation by which the being achieves itself, express itself in the element of the visibility, offers itself while concealing itself. The analysis of the visibility, irreducible to the ponctuality of the seen and to the ideality of the vision, allows then to make clear the different constitutive stratums, from the objective transcendancy, correlative of the intercorporeity, to the universe of ideality appearing through the element of language

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Scarpa, Mariana Cabral Tomzhinsky. "A linguagem em Merleau-Ponty." reponame:Repositório Institucional da UFPR, 2017. http://hdl.handle.net/1884/46282.

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Orientador: Prof. Dr. Luiz Damon Santos Moutinho
Tese (doutorado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Filosofia. Defesa: Curitiba, 23/02/2017
Inclui referências : f. 228-232
Área de concentração: História da Filosofia
Resumo: Neste trabalho buscamos apresentar o tema da linguagem ao longo das obras de Merleau-Ponty, perseguindo os diferentes deslocamentos sofridos na abordagem dessa problemática. Em um primeiro momento, tratamos das obras dos anos 1940 a fim de apresentar a gênese da linguagem como uma das expressividades possíveis do corpo no mundo. No momento seguinte, início dos anos 1950, passamos a mostrar como a noção de diacriticidade dos signos, inspirada na linguística de Saussure, permite a Merleau-Ponty uma reformulação e ampliação do escopo do papel da linguagem. Em seguida, por meio desta virada linguística, exploramos os ganhos advindos da noção de instituição na problematização da linguagem. E, por fim, nos últimos escritos do filósofo, expomos o modo como a abordagem da linguagem lança a reflexão filosófica de Merleau-Ponty numa atmosfera de negatividade e permanente criação. Palavras-chave : linguagem; diacriticidade; instituição; fenomenologia; Merleau-Ponty.
Résumé: Dans ce travail nous présentons le thème du langage au long des oeuvres de Merleau Ponty, ceci en suivant les différents déplacements trouvés dans l'approche de cette thématique. Premièrement, nous nous occupons des oeuvres des années 1940, de sorte à montrer la genèse du langage em tant qu'une des expressivités possibles du corps dans le monde. À partir des oeuvres du début des années 1950, nous présentons la notion de la diacriticité des signes, qui est calquée sur le modèle de la linguistique de Saussure. Cette notion permets à Merleau Ponty une reformulation et un élargissement du rôle du langage dans ces ouvres. En suite, grace au tournant linguistique, nous étudions les gains théoriques permis par la notion de l'institution. Pour conclure, à partir des derniers écrits du philosophe, nous exposons la façon à travers laquelle le langage conduit la réflexion de Merleau-Ponty à une atmosphère de négativité et création permanent. Mots-clés : langage; diacriticité; institution; phénoménologie; Merleau-Ponty.

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Mantovani, Harley Juliano. "Arqueologia fenomenológica de Merleau-Ponty." Universidade Federal de São Carlos, 2006. https://repositorio.ufscar.br/handle/ufscar/4822.

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Universidade Federal de Minas Gerais
This dissertation is based the relationship between Phenomenology and Metaphysics, one of the pillars of contemporary French Philosophy. If, in that context, there seems to be a consensus according to which the metaphysical is originary, we, on the other hand, aim at investigating its place and its origins. This work focuses on one of the aspects over which that relationship has developed, and which, at the same time, characterize one novelty of contemporary Philosophy, namely, the concern with language and with writing. When the phenomenological discourse unveiled what it first denied, the Being, when it neutralized itself in this incapability of expression, it brought the metaphysical, which thereafter needed to be seen as originary. What characterizes the metaphysical in discourse is, thus, a rational cohesion without a concept, that is, the absence of abstract and objective categories and of pure meanings given a priori, for a thought which could possibly be prior to language. With this rearrangement of the metaphysical concerning language, and taking it as a Philosophical theme, we return to the origins and to the inauguration of Philosophy. Finally, we analyze this surpassing of Phenomenology through the return to language phenomenon, which meant having another encounter with Philosophy after Phenomenology. This re-visitation meant the narrative of a new beginning. As we proceeded in this process, the importance of language for the whole ontological project of Merleau-Ponty became more and more clear, especially concerning the initial moments of a Phenomenology of perception, when it was not in the center of our analysis, and when it was not discussed. This silence was revealing to us.
Essa dissertação ganha vida na relação entre fenomenologia e metafísica, que é um dos pilares da filosofia francesa contemporânea. Se, neste contexto, parece haver o acordo de que o metafísico é o originário, procuramos investigar o seu lugar e a sua proveniência. Essa dissertação toma um dos aspectos sobre os quais se desenvolveu aquela relação, e que caracteriza, ao mesmo tempo, uma novidade da filosofia contemporânea, a saber, a preocupação com a linguagem e com a escritura. Quando o discurso fenomenológico desvelou o que o negava, o Ser, quando ele neutralizou-se nessa incapacidade de expressão, ele trouxe o metafísico para o discurso, que precisava ser, doravante, sempre originário. O que caracteriza o metafísico no discurso é, pois, uma coesão racional e sem conceito, isto é, a ausência das categorias abstratas e objetivas e das significações puras dadas a priori por um pensamento anterior à linguagem. Com esse remanejamento do metafísico para a linguagem, tomando-a como tema filosófico, voltamos às origens e à inauguração da filosofia. Restavanos analisar esse ultrapassamento da fenomenologia através do retorno ao fenômeno da linguagem, o que significou reencontrarmos a filosofia depois da fenomenologia. Reencontro que foi a narrativa de um começo. Ao longo desse caminho de volta foi se nos desvelando a importância da linguagem para o projeto ontológico de Merleau-Ponty, sobretudo, nos momentos iniciais de uma Fenomenologia da Percepção em que ela não estava no centro das análises, em que não se falou dela. Esse silêncio foi-nos revelador.

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Colì, Maria Lucia. "Merleau-Ponty e la natura." Paris 1, 2007. http://www.theses.fr/2007PA010633.

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Le travail traite quelques-uns des thèmes qui reviennent fréquemment dans la spéculation merleau-pontyenne, à savoir celui de la réflexion ontologique qu'il portait au concept de Nature, et ceux de la possibilité et du sens de la philosophie. C'est dans la dernière phase de la réflexion du philosophe français, la phase dite ontologique, que l'élaboration de ces thèmes atteint sa pleine maturité. Ce qui émerge des pages consultées, c'est la tentative de Merleau-Ponty d'élaborer une nouvelle ontologie, et donc une nouvelle conception de l'Être et de la Nature, cette dernière représentant pour le philosophe français un accès concret au problème ontologique. A côté de ces questions, on trouve aussi une réflexion sur la crise de la philosophie et sur la possibilité de surmonter l'impasse dans laquelle se trouve la pensée occidentale. L'ontologie merleau-pontyenne ne considère pas la Nature comme un objet mais qu'elle s'y réfère comme à un élément qui n'est accessible que de l'intérieur.

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Mokkila, Granlund Edward. "Musik, mening och Merleau-Ponty." Thesis, Linköpings universitet, Avdelningen för filosofi, historia, konst och religion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-165385.

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Är upplevelsen av musik meningsfull och på vilket sätt är det möjligt för ett musikstycke att gestalta en yttre värld? I denna uppsats undersöker jag lite kort vad inom musiken skulle kunna förstås som en mening. Genom att se till olika förhållanden av meningsfullhet och musikalisk upplevelse går det att förstå dess breda förklaringssvårigheter. Meningen ter sig subjektiv men kan också bidra till en kollektiv samstämmighet om ett musikstyckes meningsfullhet. Upplevelsen av musik i sin tur kan hjälpa en kompositör eller artist att gestalta en omvärld för sig själv. Denna gestaltning bebor inte musiken på liknande sätt som en manual beskriver ett tillvägagångssätt utan med hjälp av medlet musik kan artisten uttrycka något som en vokabulär inte möjligtvis är kapabelt till. Med kroppen som länk mellan den yttre världen och subjektets vilja används vanan av att bruka ett instrument som en förlängning för kroppen. Att utgå från kroppen som en medvetandehorisont är något som är nära besläktat till Merleau-Pontys existentiella fenomenologi i Phenomenology of Percetion och utgör en bra grund för denna uppsats. Även om jag inte kommer fram till ett svar ifall musik besitter en mening så har upplevelsen av musik utforskats genom olika musikaliska verk och hur musikalisk gestaltning kan användas för varseblivning.
Is the experience of music meaningful and in which way is it possible for a musical arrangement to depict an external world? This essay will firstly examine what meaning within music might refer to. Though there are difficulties to pinpoint an exact definition of meaning in regard to several different experiences of music it seems to originate from the subject itself. Even so, music can possess a collective acceptance within their respective social groups. The experience of music can help a composer to portray a surrounding, not by the virtue of musical characteristics, but by mediating the will of the composer. Unlike a manual which is guiding the reader to take certain steps the composer can express what a vocabulary is lacking by the habit and familiarity of ones instrument as an extension of the performers body to link an external world. This is very much related to the existential phenomenology put forward by Merleau-Ponty in Phenomenology of Perception and on which I base my arguments on. Even though I might not find a meaning within music I have examined the possibility for experiencing music as a way of portraying the surrounding world.

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Bitencourt, Amauri Carboni. "Merleau-Ponty acerca da pintura." Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/92046.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-graduação em Filosofia
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Este estudo não visa investigar cronologicamente o percurso de Merleau-Ponty acerca da pintura. Queremos investigar três temas que esboçam a filosofia de Merleau-Ponty e a pintura: o artista, a história da arte e a "experiência" com a arte. Ainda assim, esses temas foram "garimpados" dos principais textos "estéticos" merleaupontyanos: A dúvida de Cézanne, O olho e o espírito e A linguagem indireta e as vozes do silêncio. Por meio desses temas, nosso objetivo é mostrar que, num primeiro momento, a arte serviu a Merleau-Ponty para confirmar a tese fenomenológica da natureza primordial, ou seja, ele viu Cézanne realizar na pintura aquilo que ele queria fazer na filosofia. Mas, aos poucos, por reconhecer na pintura uma verdadeira linguagem, a saber, tácita, silenciosa, a natureza primordial passou a ser compreendida como uma linguagem e a pintura, por conseqüência, como uma verdadeira filosofia. Em linhas gerais, esta é a tese dos três textos dos quais nos ocupamos para elaborar esta dissertação e que versam sobre pintura. Mas a reapresentamos por meio das três questões nesses mesmos textos.

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Marques, Paulo Pimenta. "Merleau-Ponty: acerca da intencionalidade." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/BUOS-8TYJQY.

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This study aims at showing the notion of intentionality found in the first works of Maurice Merleau-Ponty. We present Merleau-Ponty's reading of tradition through an hermeneutics of his own. We approach the notions of unthought and operative. Then, we approach the founding period of the author's philosophical project in the thirties. In a constant confrontationwith Descartes' Sixth Metaphysical Meditation, Merleau-Ponty constructs zis intellectual project through the examination of the soul or mind and body relations problem. Through Gabriel Marcel's philosophy of existence and incarnation, he wants to open the dimension of philosophy which was forbidden to thought by the Cartesian dualism. To do so the author uses Max Scheler's notion of affective intentionality, which is the first manifestation of the notion of intentionality in Merleau-Ponty's works. The author recovers the intentional nature of perception and desire by deciding to follow the philosophical alternative of phenomenology. This means that the author wants to question the Cartesian and Kantian idealistic tradition and the reflexive philosophy, so that he can attack the contemporary anthropological emptiness, which removes the active-passive complexity of human being, making it incomprehensible inits unity and its bonds with the world and others. After being related to temporality and subjectivity in Phenomenology of perception, the notion of operative intentionality, the only form of intentionality to achieve some stability, will gradually fade until it approaches an ontological psychoanalysis and gives its place to the notion of quiasm in the author'sunfinished last phase
O objetivo dessa pesquisa é expor a noção de intencionalidade presente nos primeiros trabalhos de Maurice Merleau-Ponty. Apresentamos a leitura que Merleau-Ponty faz da tradição através de uma hermenêutica própria. Abordamos as noções de impensado eoperante. Em seguida abordamos o período fundador do projeto filosófico do autor nos anos trinta. Numa constante confrontação com a Sexta Meditação metafísica de Descartes, Merleau-Ponty elabora seu projeto intelectual através do constante exame do problema dasrelações entre o corpo e a alma. Através da filosofia da existência e da encarnação de Gabriel Marcel, ele busca reabrir a dimensão da filosofia interditada pelo dualismo cartesiano. Para tanto, o autor recorre à noção de intencionalidade afetiva de Max Scheler, primeira manifestação da noção de intencionalidade na obra do autor. Merleau-Ponty vai recuperar a natureza intencional da percepção e do desejo através da opção pela via filosófica da fenomenologia. Com isso, o autor quer combater a tradição idealista cartesiana e kantiana e a filosofia reflexiva, e enfrentar o vazio do dualismo antropológico contemporâneo, o qual destitui a complexidade passivo-ativo do ser humano, tornando incompreensível sua unidade e seus laços com o mundo e com outrem. Após ser relacionada à temporalidade e à subjetividade na Fenomenologia da percepção, a noção de intencionalidade operante, a única forma de intencionalidade que atinge uma certa estabilidade, vai gradualmente perder terreno até se aproximar de uma psicanálise ontológica e ceder seu lugar para a noção de quiasma na última fase da obra inacabada do autor

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Joo, Seong-Ho. "Merleau-Ponty, penseur bergsonien ? : la formation de la philosophie de Merleau-Ponty et le "Bergsonisme"." Université Marc Bloch (Strasbourg) (1971-2008), 2002. http://www.theses.fr/2002STR20044.

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L'objet de ce travail est de montrer comment la philosophie de Bergson influence celle de Merleau-Ponty. Nous pensons que la philosophie de Bergson oriente la pensée de Merleau-Ponty, dès le début, vers le "monde" avant la connaissance, le "monde" avant la dissociation que l'idéalisme et le réalisme ont opérée entre le "phénomène" et la "réalité". Cette orientation philosophique reste aussi dans l'ontologie du "dernier" Merleau-Ponty. Mais notre travail ne consiste pas seulement à déterminer quel rôle joue la philosophie de Bergson dans la formation de celle de Merleau-Ponty. Elle consiste aussi à examiner quels sens ont la phénoménologie de Merleau-Ponty et son ontologie dans cette orientation philosophique. Nous cherchons dans cet examen à montrer en quel sens sa phénoménologie fonctionne encore dans un cadre philosophique antérieur et qu'elle ne peut pas réussir à se diriger vers le "monde" avant la connaissance. Et nous essayons aussi d'élucider en quel sens son ontologie peut s'orienter vers ce "monde"
The present study intends to show how Bergson's philosophy influences Merleau-Ponty's one. We think that Bergson's philosophy directs the "first" Merleau-Ponty toward the "world" which precedes knowledge, the "world" before the devision of which is made into "phenomenon" and "reality" by idealism and realism. This philosophical orientation is found in his "last" works. But our study does not only lie in detemining what role Bergson's philosophy plays in the formation of Merleau-Ponty's one. It consists also in understanding what senses Merleau-Ponty' phenomenology and ontologoy have in this philosophical orientation. We seek to show in what sens Merleau-Ponty's phenomenology is not a suitable philosophical methode to seize the "world" which preceeds knowledge. And we also try to elucidate in what sense his ontology can seize this "world"

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Tamoševičius, Andrius. "Fenomenologinė estetikos samprata (M. Merleau - Ponty)." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120626_112058-87057.

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Šiame darbe yra siekiama atskleisti gyvą patirties pasaulį, nesutampantį net tik su klasikinės metafizikos siekiais jį apriboti, tačiau ir su šių dienų mokslų pasakomis. Yra norima parodyti, kad žmogus gyvena reikšmingame pasaulyje, dalyvaudamas jame tiesiogine patirtimi bei jusliniu suvokimu sugeriantis išorės fenomenų fenomenalumą, kurie niekada nepasireiškia kaip išbaigti ir aiškūs, tačiau sudaro tą prasmės klodą, iš kurio gimsta visas reikšmingumas, gyvastingumas, pačios intensyviausios gyvenimo akimirkos. Žmogus yra gyvas, o jo gyvybę padiktuoja jo kūniškumas, kuris visada intencionaliais siekiais kreipiasi į pasaulį, jį priima į save ir išskleidžia reikšmę atgal pasauliui. Kūnas fenomenalus audinys, vikriai įsiliejantis į pasaulio audinį, suformuodamas tokį santykį, kuriame pirmais smuikais griežia estetiškumas, pirmine graikiško žodžio aisthētikos – jutiminis reikšme. Kūnas visada yra išraiškingas ir reikšmingas. Geriausiai tai atskleidžia menininko patirtis, kuomet ateidamas į savo kūrybines dirbtuves, jis vadovaujasi tik tiesiogine patirtimi bei juslumu, sugaudamas tas fenomenų bangas, kurios kitokiu būdu yra ne tik nepagaunamos, bet ir užmskuojamos.
This paper aims to reveal the living experience of the world, that does not coincide with the classical metaphysical aspirations to restrict it, but also with the things wich has been said by researchers of nowadays. It is seeking to show, that man lives in the meaningful world, taking part in it by direct experience and sensory perception of external phenomenal of the phenomenon, wich are never completed and clear, but the basis of the meaningful and leads to all the significance of vitality and most intensive moments of live. The man is alive and his life is dictaded by his corporeality, wich is always turned into the world by its intentions, takes the value of the world into himself and expands the value back to the world. Phenomenal body tissue deftly merges with the fabric of the world, forming a relationship in wich the aesthetic plays by the first violin, in the original sense of the Greek word aisthētikos – sensory value. This is best revealed by the artist experience when he comes to his workshop. When he follows only the capture of direct experience sensitivity, he looks at the waving of phenomena, wich in the other way are not only elusive, but more than concealed.

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Hung, W. S. H. "Language and silence and Merleau-Ponty." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604789.

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This dissertation examines Merleau-Ponty's conception of the relation between language and silence, and argues that from his early to his later works there is a change in his position. In the early works, the relation between language and silence is conceived as a relation of 'founding'. According to this conception, linguistic expression makes explicit the genesis of meaning already at work in pre-linguistic perceptual experience, while this pre-linguistic experience exists only in its appropriation by reflection. Hence while the meaning of experience is brought to expression by reflection, this meaning is nonetheless experience's own. The 'purity' of this meaning is guaranteed, as the pre-reflective is kept outside reflection as its limit. However, as long as experience and expression are thought of as the two poles of the relation, they cannot relate to each other except negatively, and in the Phenomenologie de la perception we find that the silent experience is described as an 'original past' that has never been present. However, the Phenomenologie remains unclear as to what this anteriority of experience to expression consists in, resulting in two apparently conflicting tendencies in its definition of reflection which presents reflection as both adequation and creation. At the time of Phenomenologie Merleau-Ponty does not see this result as undesirable. Rather, it captures the paradoxical nature of expression. He contends that by studying concrete instances of expression we will see how this contradiction is surpassed - in other words, how what is a 'bad ambiguity' at the beginning will turn out to be a 'good ambiguity'. This 'good ambiguity' is the unification of passivity and activity, particularity and generality, in the act of expression. But as he tries to study the higher forms of expression - in particular language - in more detail, Merleau-Ponty is led to question his earlier position.

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Maluf, Daniela Pinotti. "Lygia Clark e Merleau-Ponty = paralelos." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284319.

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Orientador: Maria de Fatima Morethy Couto
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Xavier, Luana Lopes. "Corpo e subjetividade em Merleau-Ponty." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/6946.

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L'objectif de cette travail est d'analyser les thèmes du Corps et de la subjectivité dans l'oeuvre de Maurice Merleau-Ponty, considérant leurs critiques tout comme leurs interprétations de la pensée phénoménologique. Nous comprenons, surtout, que la phénoménologie merleaupontienne a élu l'expérience du corps comme source de la perception. Ainsi, la phénoménologie nous mènera à une approche du corps lié à la subjectivité ou à l’entralecement de l'homme et la nature, présentée dans le travail La structure du comportement et Phénoménologie de la perception. L'intention de notre travail est de montrer comment la pensée de Merleau-Ponty s´efforce à rompre avec les dualismes de la relation corps-esprit et à récupérer les données sensibles de la conscience à partir de l'expérience perceptive, plus précisémment. Nous voudrions donc penser la critique faite par l'auteur des études classiques sur le corps et la division moderne entre l'intériorité et l'extériorité, ayant en vue une phénoménologie de l’entrelacement homme-monde. Pour ce, nous prenons en compte les références que Merleau-Ponty fait à Descartes, Husserl et Bergson, tout comme l’oeuvre La structure du comportement, mais nous proposons, surtout, une lecture possible de la Phénoménologie de la perception.
O objetivo do presente trabalho é analisar o tema Corpo e subjetividade na obra de Maurice Merleau-Ponty, tomando como viés suas críticas e interpretações do pensamento fenomenológico. Compreendemos, em especial, que a fenomenologia merleau-pontiana elege a experiência corpórea como fonte da percepção. Desta forma, a fenomenologia nos levará a uma abordagem do corpo atrelado à subjetividade ou da imbricação entre homem e natureza, expressas em obras como A estrutura do comportamento e Fenomenologia da percepção. A intenção do nosso trabalho é mostrar como o pensamento de Merleau-Ponty se empenha em romper com os dualismos sobre a relação corpo-mente e recuperar os dados sensíveis da consciência a partir da experiência perceptiva, mais especificamente, pensar a crítica empreendia pelo autor aos estudos clássicos do corpo e à cisão moderna entre interioridade e exterioridade, tendo em vista uma fenomenologia do entrelaçamento homem-mundo. Para tal, deter-nos-emos a referências que Merleau-Ponty realiza a Descartes, Husserl e Bergson, também à obra A estrutura do comportamento, mas propondo, sobretudo, uma possível leitura da Fenomenologia da percepção.

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Paulino, Lucas Roberto Pedrão. "Diálogos entre Skinner e Merleau-Ponty." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-22032017-115047/.

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Sob o tema do comportamento o presente trabalho se propõe a estabelecer um diálogo entre dois autores, um representante da escola behaviorista, Burrhus Frederic Skinner (1904-1990), e outro representante da escola fenomenológica, Maurice Merleau-Ponty (1908-1961). Para atingir esse objetivo foram escolhidas uma obra de cada autor como referência primária: Science and Human Behavior e La Structure du Comportement, respectivamente. A escolha desses livros e autores em específico foi propiciada, principalmente, pelos seguintes motivos: a) a generalidade com a qual o diálogo entre behaviorismo e fenomenologia é tratado na literatura pertinente gera muitos equívocos pela ausência da experiência dos comentadores com uma ou outra escola; b) Merleau-Ponty apresenta uma proposta para o estudo do comportamento e dialoga com uma perspectiva que também lida com os aspectos comportamentais, o behaviorismo; c) Merleau-Ponty apresenta uma crítica aos behaviorismos de Watson, Tolman e Tilquin, mas não discute com o behaviorismo de Skinner, permanecendo incerto o grau em que essas críticas o atingem, se é que o atingem, e as possibilidades de um diálogo positivo. A tese segue três momentos. No primeiro há uma contextualização da fenomenologia de Merleau-Ponty. No segundo há uma contextualização do behaviorismo de Skinner. No terceiro momento há o diálogo entre os autores fundamentado na análise de suas obras e da literatura pertinente. Nesse diálogo foram examinadas a crítica merleau-pontyana ao behaviorismo e algumas aproximações entre a noção de comportamento em Skinner e a noção de comportamento em Merleau-Ponty. Como resultado vimos que, em ao menos uma interpretação possível, as noções de comportamento em Skinner e Merleau-Ponty tem alguns sentidos em comum: o afastamento do reducionismo biológico e do mentalismo; e a aproximação com o antidualismo, a fenomenologia, o naturalismo, o caráter dialético e o organismo como um todo.
This thesis aims to establish a dialogue between two authors, Burrhus Frederic Skinner (1904-1990), from a behavioristic point of view, and Maurice Merleau-Ponty (1908-1961), from a phenomenologic point of view. To reach this subject-matter, it was choosen one book of each author as a primary reference : Science and Human Behavior and La Structure du Comportement. The chose of this authors and books, especifically, was mainly motivated by this reasons : a) the generality by the dialogue beetween behaviorism and phenomenology is treated in the pertinent literature produces several misconceptions about how this psychological or philosophical aproachs are treated ; b) Merleau-Ponty shows a proposal to study behavior and dialogues with behaviorism, a perspective that also study the behavior ; c) Merleau-Ponty shows a critique about the Watsons, Tolmans and Tilquins behaviorism, but dont deal with Skinners behaviorism, remaining uncertain the extent by which this critique reachs radical behaviorism, and the possibilities of a positive dialogue. This thesis follows three moments. First, contextualization of the Merleau-Pontys phenomenology. Second, contextualization of Skinners behaviorism. Third, shows a dialogue beetween the authors based upon their books analysis and the pertinent literature. In this dialogue was examined the Merleau-Pontyan criticism to behaviorism and some rapprochements between Skinners notion of behavior and Merleau-Pontys notion of behavior. We concluded by a comum core possibility between their notions of behavior: the deviation from the biological reductionism and from the mentalism ; and the rapprochement with antidualism, phenomenology, naturalism, dialetics, and the organism as a whole.

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Ferraz, Marcus Sacrini Ayres. "Fenomenologia e ontologia em Merleau-Ponty." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-08072008-145806/.

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Neste trabalho, buscamos expor e avaliar as diferentes concepções de ser defendidas por Merleau-Ponty no decorrer de sua obra. De início, explicitamos a concepção ontológica contida na Fenomenologia da Percepção, e julgamos que ela está comprometida com conseqüências idealistas. Em seguida, acompanhamos como Merleau-Ponty esboça, em seus textos finais, uma concepção não idealista do ser, que admite um excesso daquilo que há em relação àquilo que se fenomenaliza.
In this work, we aim at showing and evaluating Merleau-Ponty\'s different conceptions of being held in his career. First, we make explicit the ontological conception included in his book Phenomenology of Perception, and we judge that such conception is committed to idealistic consequences. Then, we set forth how Merleau- Ponty outlines, in his final texts, a non-idealistic conception of being, which acknowledges that what there is exceeds what appears.

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Park, Shin-Hwa. "Expérience et expression chez Merleau-Ponty." Paris 1, 2011. http://www.theses.fr/2011PA010605.

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La philosophie de Merleau-Ponty est le déploiement d'une réflexion radicale sur le sens et la possibilité de la philosophie. Selon lui, celle-ci consiste à exprimer, à parler de l'expérience, ce qui soulève cette question fondamentale de savoir quelle relation il y a entre l'expérience en tant que tel1e et l'expression de cette expérience. Pour autant que la philosophie elle-même est langage, repose sur le langage, elle risque toujours, de façon inhérente, de réduire notre expérience du monde à un ensemble de significations maniables, disponibles. Or l'auteur affirme que notre expérience du monde et de l'Etre, en tant qu'elle est en elle-même différenciation, ou genèse, n'est pas réductible à un système du langage constitué, établi, et que tout au contraire, la philosophie nécessite un langage perceptif qui nous permettrait de « voir» l'expérience à l'état naissant. Autrement dit, la philosophie est l'expérience perceptive s'interrogeant sur elle-même. Bien loin de pouvoir jamais déduire l'expérience et le monde de la philosophie et du langage, il faut au contraire de nouveau resituer philosophie et langage au sein de l'expérience et du monde. Cependant, une telle analyse du langage et de la philosophie nous conduit à comprendre pourquoi la philosophie n'est pas encore achevée, ou plutôt pourquoi elle ne pourra jamais l'être, ne pourra jamais finir. Nous comprendrons alors pourquoi, et comment, il nous faut admettre la thèse merleau-pontienne d'une philosophie comme interrogation, au sens littéral du terme.

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Viloteau, Jean-Jacques. "Expression et signification chez Merleau-Ponty." Paris 10, 2008. http://www.theses.fr/2008PA100003.

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L’expression, qu’elle soit esthétique ou verbale, procède du corps total. Pour lui, il s’agit de trouver dans les signes un équivalent de la forme (Gestalt) qui s’annonce à travers son expérience du monde. Ce pouvoir d’appréhension et d’expression des formes et des significations, provient de la capacité du corps à articuler ses vécus en systèmes d’équivalences. Elle lui permet également de s’ouvrir à des champs d’expériences nouveaux et de transcender, dans un dépassement sur place, les niveaux de sens antérieurs. Dans le phénomène perceptif naturel ou originaire, se révèlent une communication des sens, les sensations symbolisant les unes pour les autres mais aussi, des significations spécifiques d’ordre moteur, physionomique, existentiel…irréductibles aux concepts de la pensée intellectuelle. La parole naît de l’expérience sensori-motrice : c’est un geste linguistique. Nous retrouvons en elle, l’adhérence, inhérente au geste moteur, entre les signes et leur signification mais encore, entre la pensée, l’appréhension du sens et la profération. La langue ne peut être réduite à un code de signes arbitraires : elle a un intérieur. C’est aussi un être qui défie les approches objectives et les tentatives de classification : en elles, le langage atteint son point aveugle. Dans l’entrelacs monde-langage-humanité, des sens latents opèrent à l’insu des hommes, ceux-ci contribuant, par leur activité, à leur explicitation. Chacun de ces sens procède d’une fondation (Stiftung) et tend à son accomplissement : c’est l’Être même qui s’actualise. Dans sa tâche d’élucidation, il appartient à la philosophie de découvrir les sens originaires sur lesquels notre appréhension du monde se fonde
The expression either aesthetic or verbal proceeds from the total body. This one uses symbols in order to find an equivalent of the form (Gestalt) which is on the way in its experience of the world. This capability of the body of capturing or expressing forms and meanings results first from its ability to articulate its experiences into equivalences systems. On the other hand, it enables to open new experience ranges and to transcend, by exceeding them on the spot, the previous meaning level. In the phenomenon of original perception appear not only a communication of the senses, the sensations representing the ones for the other ones but, also, specific meanings which are either motor, or physiognomic, or existential … and irreducible to the concepts of the intellectual thought. The speaking comes from the sensori-motor experience: it’s a linguistic gesture. We can retrieve in it the adhesion, which is inherent to the motor gesture, on one hand between the symbols and their meanings and, on the other hand, between the thought and the speech act. The language is not only a code of arbitrary signs: it does have an inside. It’s also a being which challenges the objective approaches and the ranking endeavours: with them, the language reaches its blind point. In the network world-language-mankind, latent senses are operating without the knowledge of the human beings whose activity participates to their clarification. Each of these senses proceeds from a foundation (Stiftung) and moves to its fulfilment: it’s the Being itself which thus becomes actual. In its mission of clarification, philosophy has to reveal the original senses on which is based our apprehension of the world

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Faust, Wolfgang. "Abenteuer der Phänomenologie Philosophie und Politik bei Maurice Merleau-Ponty." Würzburg Königshausen und Neumann, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2906022&prov=M&dok_var=1&dok_ext=htm.

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Ayouch, Thamy. "L'"inconscient " dans l'oeuvre de Maurice Merleau-Ponty : Phénoménologie de l'affectivité et métapsychologie de l'affect (Merleau-Ponty - Freud )." Paris 7, 2007. http://www.theses.fr/2007PA070033.

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Après avoir, dans une première partie, confronté les lectures respectives de la psychanalyse par Merleau-Ponty et de l'œuvre de celui-ci par des psychanalystes (A. Green, J. -B. Pontalis, J. Lacan et C. Castoriadis), l'auteur s'efforce de montrer, dans la seconde partie, que la phénoménologie psychologique de Merleau-Ponty, dans la distance qu'elle marque avec la perspective husserlienne, s'institue en phénoménologie de l'affectivité. La continuité entre conscience et inconscient que des psychanalystes reprochent à Merleau-Ponty s'avère ainsi moins problématique eu égard à la catégorie de l'affect. Après une présentation des apories métapsychologiques que la définition freudienne de l'affect peut rencontrer, la troisième partie tente de montrer comment la phénoménologie de l'affectivité merleau-pontyenne permet une relecture de la métapsychologie de l'affect eu égard au corps, à la perception et à l'intersubjectivité, mais aussi au niveau de la perspective même de la théorisation propre à la psychanalyse
The first part of this work confronts Merleau-Ponty's interpretation of psychoanalysis to the reading some psychoanalysts (A. Green, J. -B. Pontalis, J. Lacan and C. Castoriadis) make of Merleau-Ponty's philosophy. The second part aims to demonstrate that in moving away from Husserl's phenomenology, Merleau-Ponty's reveals as a phenomenology of affectivity. Hence, the consciousness-unconscious continuity some psychoanalysts indict in Merleau-Ponty's perspective proves less problematic for the category of affect. Having presented the reader with the metapsychological aporia Iying in Freud's definition of affect, the third part aims to show how Merleau-Ponty's Phenomenology of affectivity provides with a new perspective on Freud's affect metapsychology, more particularly in the domains of body, perception and intersubjectivity, but also as far as the very act of writing theory is concerned

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Marques, Rodrigo Vieira. "Merleau-Ponty e a crise da razão." Universidade Federal de São Carlos, 2011. https://repositorio.ufscar.br/handle/ufscar/4787.

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ABSTRACT This work takes its point of departure in Merleau-Ponty s Philosophy, centered in the notion of Crisis of Reason , basing itself on the presupposition that this is a fundamental concept of contemporary phenomenology. In the Cartesian thought, already it was possible to find the idea of the crisis, however, it was the finding of a crisis of sciences . Something similar was also in Valery, especially when he speaks of a crisis of spirit . The novelty of Husserl was exactly in showing that the crisis, as he lived it, was deeper, shook the Reason itself. This work assumes the task of showing that, not limiting to a crisis of sciences, of the spirit or of Reason itself, Merleau-Ponty discusses a present crisis in the man himself, or rather, in the diverse points of view that has about him. In this sense, his philosophical project is based, primarily, on the attempt to establish a dialogue with the points of view of the philosophy and of the science. Therefore, an inquiry of the divergence of these points, is warranted, elucidating not only the scenario in which the conflict is, but also its genesis. Likewise, starting from a Merleau-Pontian understanding of the crisis, finally, this study also assumes the task of asking about the repercussions of this crisis in the relation of philosophical knowledge to itself, then, in the way of his own philosophy to understand its history, being, therefore, the importance of this incursion in the desire to explain what, according to Merleau-Ponty, would be a possible way of overcoming.
Este trabalho parte de uma leitura da filosofia de Merleau-Ponty centrada na nocao de Crise da Razao , fundamentando-se no pressuposto de que se trata de um conceito fundamental da fenomenologia contemporanea. No pensamento cartesiano, ja era possivel encontrar a ideia de crise, porem, tratava-se da constatacao de uma crise das ciencias . Algo semelhante havia tambem em Valery, especialmente ao se falar de uma crise do espirito . A novidade de Husserl estava justamente em mostrar que a crise, tal como ele a vivia, era mais profunda, abalava a propria Razao. Este trabalho assume a tarefa de mostrar que, nao se limitando a uma crise das ciencias, do espirito ou da propria Razao, Merleau-Ponty discute uma crise presente no proprio homem, ou antes, nos diversos pontos de vista que se tem a seu respeito. E neste sentido que o seu projeto filosofico se fundamenta, em primeiro lugar, na tentativa de estabelecer um dialogo entre os pontos de vista da filosofia e da ciencia. Por conseguinte, justifica-se uma investigacao da divergencia destes pontos, procurando elucidar nao so o cenario no qual o conflito se encontra, mas tambem a sua genese. Do mesmo modo, partindo de uma compreensao merleau-pontiana da crise, por fim, este trabalho assume tambem a tarefa de se indagar acerca da repercussao desta mesma crise na relacao do saber filosofico consigo mesmo, logo, no modo da propria filosofia entender a sua historia, estando, pois, a importancia desta incursao no ensejo de explicitar o que, para Merleau- Ponty, seria uma possivel via de superacao.

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Beith, Donald. "Passivity in the philosophy of Merleau-Ponty." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116957.

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Modern philosophy, from Descartes and Kant to early articulations of the phenomenological method, is based upon the premise that nature is synthetically established by human consciousness. In his late thinking, Merleau-Ponty rethinks the notion of passivity, a concept he opposes to the pure activity of constituting consciousness, and through which he explains how novel meaning can emerge in nature without being the product of constituting activity. While Merleau-Ponty's early works are systematic studies of human consciousness, and though many interpreters thereby take these works to be premised upon the primacy of consciousness as a constituting activity, I argue that there is a pivotal redefinition of passivity underway throughout his corpus.I explicate Merleau-Ponty's rethinking of passivity by drawing three progressively richer concepts of passivity out of his works: first is a structural passivity through which conscious or vital activities are mediated by an environment, second is a genetic passivity according to which the activities of consciousness and life are formed out of developmental processes, and third is a more radical sense of passivity which generates living activities without itself being a mode of constituting activity. Explaining this notion of generative passivity requires a complex investigation of the temporal structure within which original meaning emerges in life. I explain this temporal "institution" of meaning by studying specific phenomena: animal embryology and growth, as well as human development in childhood and puberty. Based on these studies, I make the case that the notion of generative passivity can uniquely explain the emergence of different forms of meaning in nature.
La philosophie moderne, de Descartes et Kant jusqu'aux premières articulations de la méthode phénoménologique, est basée sur la prémisse que la nature est établie synthétiquement par la conscience humaine. Dans sa pensée ultérieure, Merleau-Ponty repense la notion de passivité, un concept qu'il oppose à l'activité pure de la conscience constitutive, et à travers laquelle il explique la manière dont de sens nouveaux peuvent émerger de la nature sans être le produit d'une telle activité. Puisque Merleau-Ponty tente, dans ses premières oeuvres, d'analyser systématiquement la conscience humaine, une tendance est née parmi ses commentateurs d'interpréter ceux-ci comme étant fondée sur la primauté de la conscience comme activité constitutive. Je soutiens au contraire que tout au long de son corpus, Merleau-Ponty entreprend de redéfinir la passivité. J'élucide la repensée de la passivité chez Merleau-Ponty en soutirant de son oeuvre trois concepts progressivement plus riches. En premier nous trouvons une passivité dite structurelle à travers de laquelle les activités conscientes ou vitales peuvent se déployer dans un environnement qui leur sert de médiateur. En second nous découvrons une passivité dite génétique en fonction de laquelle les activités de la conscience et de la vie se forment grâce à des processus de développement. Finalement nous dévoilons une passivité plus radicale, une passivité dite générative, qui produit les activités vivantes sans étant elle-même une modalité de l'activité constitutive. Pour expliquer ce dernier concept de passivité nous devons effectuer une analyse complexe de la structure temporelle au coeur de laquelle le sens original émerge dans la vie. J'explique cette 'institution' temporelle du sens en étudiant des phénomènes spécifiques tel que embryologie et la croissance animale, et le développement humain à l'enfance et à la puberté. Sur la base de ces études, je soutiens que la notion de passivité générative est la mieux placé pour expliquer l'émergence des différentes formes de sens dans la nature.

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Andrews, Jorella G. M. "Merleau-Ponty and the question of painting." Thesis, University of Essex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.482090.

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Kraucevičius, Girius. "Gamtos sampratos analizė M. Merleau-Ponty filosofijoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140602_092707-31692.

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XX a. kilęs masinis visuomenės susirūpinimas klimato kaitos pasėkmėmis privertė pasaulį atsigręžti į žmogaus ir gamtos santykio problemą. Naujai atsiradusios ekofilosofijos ar aplinkos filosofijos disciplinos imasi spręsti aksiologinio pobūdžio žmogaus ir gamtos santykio klausimus. Dažniausiai tokios disciplinos naudojasi tiksliųjų mokslų suformuluota gamtos samprata, kuri pati savaime lieka kritiškai neapsvarstyta. Merleau-Ponty gamtos samprata šiame kontekste pasirodo kaip alternatyva gamtos mokslų implikuojamai materialistinei ontologijai. Tačiau ji nėra vientisa: filosofinės kūrybos eigoje kritikai fiksuoja Melreau-Ponty posūkį nuo fenomenologinio gyvenamo kūno aprašymo link ontologinės pasaulio kūno koncepcijos. Šiame magistro darbe pateikiama išsami Merleau-Ponty gamtos sampratos analizė, apimanti tiek fenomenologinę, tiek ontologinę jos formuluotę. Išryškinant abiejų formuluočių ypatumus, tuo pačiu, teigiama, jog ontologinė gamtos koncepcija neprieštarauja gamtos fenomeno aprašymui, bet jį papildo. Taip pat, pasitelkiant kai kuriuos šiuolaikinius aplinkos filosofijos pavyzdžius, siekiama netiesiogiai pademostruoti teorinį Merleau-Ponty gamtos sampratos efektyvumą, paremtą pirminiu žmogaus ir gamtos giminingumu.
A massive concern that had been caused in the twentieth century by the outcomes of the global climate change, urged humanity to look back upon a philosophical issue concerning human-nature relationship. Newly emerged subjects of eco-philosophy or environmental philosophy engage in solving axiological type of issues concerning the matter. These new subjects usually depend on a notion of nature framed by natural sciences, without critically questioning it. In this context Merleau-Ponty’s account on nature emerges as an alternative to materialistic ontology implied by the theories of natural sciences. However Merleau-Ponty’s conception of nature is not monolithic: various critiques notice a turn from phenomenological description of a living body towards an ontological notion of the flesh in the author’s late philosophy. This master thesis gives a thorough analysis of Merleau-Ponty’s conception of nature including both: phenomenological and ontological formulations of it. While pointing out the peculiarities of both formulations it also emphasizes that ontological conception of nature does not intercept with the phenomenological one but, on the contrary, provides a supplement for it. Also by invoking a few examples of contemporary environmental philosophy, this thesis implicitly demonstrates theoretical effectiveness of Merleau-Ponty’s conception of nature, which is based on a primary kinship among human and nature.

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FILHO, PAULO SÉRGIO CALVET RIBEIRO. "PERCEPTION, BODY AND PAINTING ACCORDING MERLEAU-PONTY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=28254@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O presente trabalho busca oferecer uma interpretação acerca de algumas questões inseridas em obras de Maurice Merleau-Ponty, principalmente as da década de quarenta do século XX, tais como Fenomenologia da percepção, A dúvida de Cézanne e Conversas – 1948. Nesse sentido, propomo-nos a uma análise a respeito do papel que cumprem os conceitos de percepção, corpo e pintura em sua filosofia. Lançamos mão, ainda neste aspecto, para nos auxiliar no desenvolvimento de nossas ideias, de certo aparato crítico que compreende desde comentadores brasileiros e estrangeiros, até críticos de arte e biógrafos. Nesse percurso, acabamos por perceber que o mundo da percepção não é o que melhor conhecemos, que o corpo não deve ser entendido como objeto e que a pintura não cumpre papel acessório em relação à filosofia.
The present work intends to offer an interpretation about some questions inserted on the works of Maurice Merleau-Ponty, principally his works from 4Os of the twentieth century, as Phenomenology of Perception, Cezanne s Doubt and Causaries - 1948. This way, we propose an analysis about the role that fulfills the concepts of perception, body and painting in his philosophy. For supporting the development of our ideas, it was considered some critical apparatus that is formed by Brazilian and foreign commentators and art critics and biographers. During the study, we noticed that the world of perception is not what we know better, the body should not be understood as an object and the painting does not fulfill the auxilar role related to the Philosophy.

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McBlane, Angus. "Corporeal ontology : Merleau-Ponty, flesh, and posthumanism." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/56960/.

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As posthumanism has developed in the last twenty-five years there has been hesitation in elucidating a robust posthumanist engagement with the body. My thesis redresses this gap in the literature in three intertwined ways. First, it is a critical assessment of posthumanism broadly, focusing on how the body is read in its discourse and how there is a continuation of a humanist telos in terms which revolve around the body. Second, it is a philosophical interrogation, adaptation, and transformation of aspects of the work of Maurice Merleau-Ponty, focusing its reading on Phenomenology of Perception and The Visible and the Invisible, with additional material drawn from his works on language, aesthetics, and ontology. Third, it is a critical analysis of four films drawn from that seemingly most posthumanist of genres, science fiction: Cronenberg's eXistenZ, Spielberg's A.I.: Artificial Intelligence, Rusnak's The Thirteenth Floor, and Oshii's Ghost in the Shell. Science fiction is the meeting place of popular and critical posthumanist imaginaries as the vast majority of texts on posthumanism (in whatever form) ground their analyses in a science fiction of some kind. By reading posthumanism through the work of Merleau-Ponty I outline a posthumanist ontology of corporeality which both demonstrates the limitations of how posthumanism has done its analyses of the body and elucidates an opening and levelling not adequately considered in posthumanist analyses of the body. Following Merleau-Ponty I argue that there is a ‘belongingness of the body to being and the corporeal relevance of every being’, yet, the body is not the singular purview of the human. There are alternative embodiments and bodies which have been previously overlooked and that all bodies (be they embodied organically, technologically, virtually or otherwise) are corporeal.

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AraÃjo, Vitor Vasconcelos de. "O conceito de natureza em Merleau-Ponty." Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=18489.

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CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior
A presente dissertaÃÃo tem como objetivo descrever o conceito de Natureza na obra de Merleau-Ponty, mostrando como o processo de naturalizaÃÃo da fenomenologia foi fundamental para a construÃÃo de uma teoria do Ser. Desejamos mostrar, sobretudo, como Ã possÃvel, a partir de tal exposiÃÃo, uma noÃÃo de Natureza que nÃo seja entendida como antÃtese da consciÃncia, reconhecendo na primeira a condiÃÃo de surgimento da segunda. Esta consideraÃÃo, nos leva diretamente para o esforÃo de reconhecer a Natureza em sua dimensÃo temporal e simbÃlica, que, em obras primeiras do filÃsofo francÃs, permanecera como subsumida Ãs estruturas da percepÃÃo humana, ou como o produto das correlaÃÃes sensÃveis do corpo prÃprio. Em primeiro lugar, mostraremos a constituiÃÃo do Ser natural a partir de dois enfoques, quais sejam, um epistemolÃgico, nas primeiras obras de Merleau-Ponty, em que o diÃlogo com as filosofias transcendentais representou a impossibilidade mesma de uma psicologia pura, e um enfoque ontolÃgico, no qual a inevitÃvel elaboraÃÃo de uma teoria do Ser natural Ã entendida como uma propedÃutica em relaÃÃo aos estudos acerca da percepÃÃo e do corpo. CaberÃ a nÃs, finalmente, identificar no curso A Natureza a envergadura ontolÃgica desta, reconhecendo nela a posiÃÃo de ser primordial
This dissertation aims to describe the concept of Nature in the work of Merleau-Ponty, showing how the process of naturalization of phenomenology was essential in building a theory of Being. We want to show, above all, how is it possible, from such presentation, a sense of Nature that is not understood as the antithesis of consciousness, recognizing the first as the condition of the latter. This consideration leads us directly to the effort to recognize the Nature in its temporal and symbolic dimension, which in early works of the French philosopher remained as subsumed to the structures of human perception, or as the product of sensitive correlations of the body. First, we will show the constitution of Natural Being from two approaches, namely an epistemological, in Merleau-PontyÂs first works, in which the dialogue with the transcendental philosophies represented the very impossibility of a pure psychology, and an ontological approach, in which the inevitable development of a theory of natural Being is understood as a propaedeutic to the studies of the perception and the body. This path directly leads us, finally, to identify in the course Nature an ontological scale of natural Being, recognizing in it the position of a primary Being.

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Pereira, S?rgio Vieira. "Merleau-Ponty: uma ontologia do vis?vel." Universidade Federal do Rio Grande do Norte, 2015. http://repositorio.ufrn.br/handle/123456789/20938.

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES)
O presente trabalho discute a profundidade e opacidade do mundo percebido no pensamento de Maurice Merleau-Ponty (1908-1961) em contraposi??o ? transpar?ncia do mundo geom?trico pensado por Ren? Descartes (1596-1650). Num primeiro momento ? abordado o discurso cartesiano desenvolvido na Di?ptricade Descartes,o primeiro de uma s?rie de tr?s discursos cient?ficos publicados em 1637, sendo introduzidos pelo famoso Discurso do M?todo. Neste sentido,esta pesquisa discorre sobre a explica??o mecanicista que o fil?sofo moderno apresenta acerca da vis?o, um processo que abrange a forma??o das imagens na retina e sua comunica??o ao c?rebro, bem como a posterior leitura realizada por uma mente imaterial. Discute-se a no??o de imagem enquanto resultado da interpreta??o do esp?rito, pois, para Descartes, n?o ? o olho que v?, mas sim o esp?rito que l? e decodifica os sinais que o corpo recebe do mundo. Noutro momento, reflete-se sobre a cr?tica do fil?sofo Maurice Merleau-Ponty ao pensamento de sobrevoo presente na Di?ptrica de Descartes. Para tanto, toma-se como principal refer?ncia a terceira parte da obra O Olho e o Esp?rito (1961), na qual a abordagem intelectualista da vis?o ? considerada como uma tentativa fracassada de se afastar do vis?vel para reconstru?-lo a partir de lugar nenhum. Neste sentido, reflete-se sobre uma nova ontologia proposta por Merleau-Ponty que pensa o ser sem se afastar dos enigmas do corpo e de vis?o. Enigmas que manifestam uma promiscuidade entre o vidente e o vis?vel, entre o senciente e o sens?vel. Desse modo, o presente trabalho discorre sobre o modo como a visibilidade foi tratada pelo fil?sofo contempor?neo, n?o como algo a ser julgado pelo esp?rito para obter uma real natureza das coisas, mas como uma manifesta??o das coisas mesmas. Por fim, esta pesquisa explora a ontologia do vis?vel no pensamento merleaupontiano, uma ontologia que n?o reconstr?i nem se apropria do vis?vel por um pensamento de sobrevoo, mas que se faz a partir da pr?pria visibilidade enquanto rela??o origin?ria e incessante com a profundidade do mundo.
This work discusses the ontology of the visible at the thought of Maurice Merleau-Ponty (1908-1961), which points to a depth and opacity of the perceived world that oppose transparency of geometric world thought by Ren? Descartes (1596-1650). At first we approached the Cartesian discourse developed in Dioptrics Descartes, the first of three scientific discourses published in 1637, being introduced by the famous Discourse method. In this sense, this research discusses the mechanistic explanation that the modern philosopher has the vision, process comprising the formation of images on the retina and its communication to the brain, and the subsequent reading performed by an immaterial mind. Discusses the notion of image as a result of the interpretation of the spirit because, for Descartes, is not the eye that sees, but the spirit that reads and decodes the signals that the body receives the world. At another point, reflected on the criticism of the philosopher Maurice Merleau-Ponty at the thought of overflight present in Dioptrics Descartes. Therefore, it takes as its reference the third part of the book The Eye and the Spirit (1961), in which the intellectualist approach of vision is considered a failed attempt to move away from the visible to rebuild it from anywhere . In this sense, it reflects on a new ontology proposed by Merleau-Ponty thinking being without departing from the puzzles of the body and vision. Puzzles that show a promiscuity between the seer and the seen, between sentient and sensitive. Thus, this paper discusses how visibility was treated by the contemporary philosopher, not as something to be judged by the spirit to get a real nature of things, but as a manifestation of the same things. Finally, this research explores the ontology of the visible in merleaupontiano thought, an ontology that does not rebuild or appropriates visible by a thought of overflight, but what you do from your own visibility as compared original and constant with depth in the world.

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Delcò, Alessandro. "Merleau-Ponty et l'expérience de la création." Paris 1, 2002. http://www.theses.fr/2002PA010504.

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Nous abordons une question qu'on ne trouve pas telle quelle, explicitement thématisée, dans les écrits de Merleau-Ponty lui-même, mais qui travaille en profondeur toute sa pensée, à savoir l'expérience de la création. Nous essayons surtout de respecter la manière dont elle se profile dans les textes du philosophe, le style indirect selon lequel elle émerge chez lui. Pour plus de clarté, nous distribuons notre champ d'analyse en quatre régions: nature, histoire, langage, art. Dans chacun de ces domaines, qui interfère sans cesse dans la pensée du philosophe avec les autres, nous mettons en évidence les opérateurs présidant au moment créateur. Ils sont multiples, variés, et bien qu'ils s'entre-éclairent souvent, demeurent néanmoins irréductibles les uns aux autres. Qu'il s'agisse de spontanéité aveugle ou de " reprise " d'une situation contingente, de différentiel sémiotique ou de geste pictural relançant l'autophanie du visible même, à chaque fois c'est à une autre modalité singulière de création que l'on a affaire. N'empêche que le phénoménologue vise toujours à élucider la même expérience, c'est-à-dire la manière dont se formule chaque fois l'ouverture d'un monde. Il essaie de comprendre, non pas les formes (à même des concepts), mais ce qui se passe entre ou avant les formes - l'effraction de l'événement, l'improbable nuance, le fugitif de l'idée, l'essence qui se met à rayonner.

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Labelle, Gilles. "Politique et philosophie chez Maurice Merleau-Ponty." Paris, EHESS, 1993. http://www.theses.fr/1993EHES0328.

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Cette these de 380p. Reparties en cinq chapitres cherche a preciser les rapports qui s'etablissent entre la philosophie de maurice merleau-ponty (1908-1961) et sa reflexion politique. Apres avoir passe en revue de facon critique la litterature existante concernant cette question (chapitre 1), l'auteur cherche a montrer les liens tisses entre la phenomenologie que defend merleau-ponty dans ses premiers ouvrages philosophiques et ses reflexions concernant le marxisme (chapitres 2 et 3). Une attention particuliere est accordee a humanisme et terreur, paru en 1947, ouvrage ou s'exhibe avec le plus d'acuite, si l'on peut dire, le caractere problematique de l'adhesion de merleau-ponty au marxisme. Les chapitres 4 et 5 sont consacres a la critique du marxisme a laquelle procede merleau-ponty, en particulier mais non exclusivement dans les aventures de la dialectique, paru en 1955. L'auteur cherche ici a montrer les liens entre cette critique, qui conduit le philosophe, notamment, a une remise en question de la notion de "revolution", et la "nouvelle ontologie", axee autour de la notion de "chair", qui se deploie dans les derniers ecrits philosophiques. En conclusion, l'auteur s'interroge sur l'heritage legue par la reflexion politico-philosophique de merleau-ponty et la confronte aux dernieres reflexions de jean-paul sartre, georg lukacs et claude lefort
In this thesis of 380p. And five chapters, the author seeks to establish the nature of the connection between maurice merleau-ponty's philosophy and his political thought. The first chapter consists mainly of a critical survey of the existing litterature. In chapters 2 and 3, the author investigates the connection between the phenomenology exposed in merleau-ponty's first philosophical works and his examination of marxism. Special attention is paid to humanism and terror (published in 1947), a book in which merleauponty's problematical adherence to marxism is obvious. In chapters 4 and 5, the author questions the critique of marxism exposed in adventures of dialectics (published in 1955) and other articles. The author suggests in these chapters a connection between this critique (which supposes a critique of the concept of "revolution") and the "new ontology" of the "flesh", exposed in the last philosophical writings. Finally, the author concludes by examining the legacy of merleau-ponty's work and by comparing it to jeanpaul sartre, georg lukacs and claude lefort's last works

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Shin, In-Sup. "Maurice Merleau-Ponty et la question d'autrui /." Lausanne, 2000. http://catalogue.bnf.fr/ark:/12148/cb377202893.

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Balagué, Laurent Escoubas Éliane. "Langage et histoire chez Maurice Merleau-Ponty." S. l. : S. n, 2008. http://doxa.scd.univ-paris12.fr:80/theses/th2008PEST0067.htm.

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Edivânia, Vicente dos Santos Maria. "Ética e corpo-próprio em Merleau-Ponty." Universidade Federal de Pernambuco, 2006. https://repositorio.ufpe.br/handle/123456789/6234.

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Esta dissertação analisa a relação entre ética e corpo próprio a partir da obra de Maurice Merleau-Ponty. É verdade que o filósofo não elaborou uma ética. O presente estudo tampouco se propõe a fazê-lo. Contudo, pretende mostrar que a contraposição merleau-pontyana da sua ontologia existencial às perspectivas antropológicas metafísicas fornece indicações e caminhos necessários para uma possível ética que assuma como fonte inexorável o fenômeno radicalmente integral da existência humana. Nesta perspectiva, a abordagem foca-se nos conceitos de corpo próprio, como lugar da singularidade e, ao mesmo tempo, da percepção do outro; de percepção como lugar originário de todo saber e, portanto, de toda ética possível; e de mundo como horizonte latente de nossas experiências presente antes de todo pensamento objetivo, numa perspectiva fenomenológica. Estes conceitos serão as bases da reflexão/tematização da ética no diálogo com referenciais do pensamento metafísico ocidental (tais como dualismo, objetivismo e racionalismo) no decorrer de toda a dissertação

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Araújo, Vitor Vasconcelos. "O conceito de natureza em Merleau-Ponty." reponame:Repositório Institucional da UFC, 2016. http://www.repositorio.ufc.br/handle/riufc/21787.

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ARAÚJO, Vitor Vasconcelos. O conceito de natureza em Merleau-Ponty. 2016. 119f. - Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Filosofia, Fortaleza (CE), 2016.
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This dissertation aims to describe the concept of Nature in the work of Merleau-Ponty, showing how the process of naturalization of phenomenology was essential in building a theory of Being. We want to show, above all, how is it possible, from such presentation, a sense of Nature that is not understood as the antithesis of consciousness, recognizing the first as the condition of the latter. This consideration leads us directly to the effort to recognize the Nature in its temporal and symbolic dimension, which in early works of the French philosopher remained as subsumed to the structures of human perception, or as the product of sensitive correlations of the body. First, we will show the constitution of Natural Being from two approaches, namely an epistemological, in Merleau-Ponty´s first works, in which the dialogue with the transcendental philosophies represented the very impossibility of a pure psychology, and an ontological approach, in which the inevitable development of a theory of natural Being is understood as a propaedeutic to the studies of the perception and the body. This path directly leads us, finally, to identify in the course Nature an ontological scale of natural Being, recognizing in it the position of a primary Being.
A presente dissertação tem como objetivo descrever o conceito de Natureza na obra de Merleau-Ponty, mostrando como o processo de naturalização da fenomenologia foi fundamental para a construção de uma teoria do Ser. Desejamos mostrar, sobretudo, como é possível, a partir de tal exposição, uma noção de Natureza que não seja entendida como antítese da consciência, reconhecendo na primeira a condição de surgimento da segunda. Esta consideração, nos leva diretamente para o esforço de reconhecer a Natureza em sua dimensão temporal e simbólica, que, em obras primeiras do filósofo francês, permanecera como subsumida às estruturas da percepção humana, ou como o produto das correlações sensíveis do corpo próprio. Em primeiro lugar, mostraremos a constituição do Ser natural a partir de dois enfoques, quais sejam, um epistemológico, nas primeiras obras de Merleau-Ponty, em que o diálogo com as filosofias transcendentais representou a impossibilidade mesma de uma psicologia pura, e um enfoque ontológico, no qual a inevitável elaboração de uma teoria do Ser natural é entendida como uma propedêutica em relação aos estudos acerca da percepção e do corpo. Caberá a nós, finalmente, identificar no curso A Natureza a envergadura ontológica desta, reconhecendo nela a posição de ser primordial.

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Balagué, Laurent. "Langage et histoire chez Maurice Merleau-Ponty." Thesis, Paris Est, 2008. http://www.theses.fr/2008PEST0067/document.

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L'objet de ce travail est d'interroger les liens entre philosophie et histoire dans la philosophie de Maurice Merleau-Ponty. Il consiste à questionner une déclaration de ce philosophe qui affirmait que "Saussure pourrait avoir inauguré une nouvelle philosophie de l'histoire". Il s'agit pour nous de savoir quel sens une telle déclaration peut avoir pour Merleau-Ponty. Nous partons de l'hypothèse qu'il y a ici un changement de paradigme de la part de Merleau-Ponty pour la compréhension de l'histoire. Il ne s'agit plus de comprendre l'histoire comme c'était le cas pour Hegel ou Marx comme quelque chose qui aurait une intelligibilité et un sens à partir d'une démarche seulement dialectique, il s'agit de comprendre l'histoire à partir de la linguistique. Notre propos est d'établir comment ce changement peut se justifier. Le travail consiste en trois parties distinctes. Dans la première nous tâchons de montrer qu'il y a eu une philosophie de l'histoire chez Merleau-Ponty avant sa lecture de Saussure et que c'était à partir de la notion de Gestalt que l'histoire pouvait être comprise. Dans notre seconde partie nous voulons néanmoins montrer que la philosophie merleau-pontyenne de l'histoire ne prend son véritable sens qu'avec la lecture de l’œuvre des linguistes et en particulier de Saussure. C'est la notion de signification en tant que "diacritique" qui permet de penser le langage et aussi l'histoire. Cette deuxième partie montre de ce fait la lecture des linguistes comme un moment charnière pour la compréhension de la philosophie merleau-pontyenne de l'histoire. Notre troisième partie montre alors que les interrogations de Merleau-Ponty dans sa dernière philosophie et ce qu'on appelle l'ontologie de la chair gravite autour d'un questionnement sur l'histoire et le langage, ce questionnement amenant Merleau-Ponty à penser l'histoire, la philosophie et son langage dans une nouvelle forme qui s'apparente à une forme quasi littéraire
The aim of this work is to investigate the links between philosophy and history in Maurice Merleau-Ponty's thought. This philosopher stated that "Saussure might have opened a new philosophy of history." I shall enquire what could be the meaning of such a statement to Merleau-Ponty, thus assuming that there is a transformation of the paradigm he used to conceptualise history. History indeed shouldn't be understood, as was the case with Hegel or Marx, as something having intelligibility and meaning only from a dialectical perspective, but should also be understood with the help of linguistics. Our point is to ascertain how such a change can be accounted for. This work is threefold. In the first part, I endeavour to show that Merleau-Ponty had a philosophy of history prior to his reading of Saussure, and that it was grounded in the notion of Gestalt. In a second part, I undertake to show that what is yet most significant in Merleau-Ponty's way of conceiving history comes from his interest in the work of some linguists and chiefly Saussure's. It is the notion of signification "understood as "diacritical"" which enables the conceptualisation of language as well as of history. The reading of linguists can thus be seen as a turning point in the making of his philosophy of history. The third part then goes on to show that the later Merleau-Ponty, and what has been called ontology of the flesh, revolves around a questioning of history and language bringing him to conceive history, philosophy and its language anew - that is: through a quasi-literary form

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Augart, Julia. "Eine romantische Liebe in Briefen : zur Liebeskonzeption im Briefwechsel von Sophie Mereau und Clemens Brentano." Würzburg Königshausen & Neumann, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2791150&prov=M&dokv̲ar=1&doke̲xt=htm.

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Slatman, Jenny. "L'expression au-delà de la représentation : sur l'aisthêsis et l'esthétique chez Merleau-Ponty /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2001. http://dare.uva.nl/document/85132.

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Noble, Stephen Andrew. "Silence et langage : sur la phénoménologie de Merleau-Ponty, suivi d'une présentation de textes inédits de et sur Merleau-Ponty." Paris 1, 2007. http://www.theses.fr/2007PA010681.

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La phénoménologie de Merleau-Ponty ne cesse d'interroger ce moment fécond de l'expérience où le sens émerge et se trouve porté à l'expression. Examinant l'influence de Goldstein, nous montrons la signification du contexte dans lequel le langage apparaît dans la pensée de Merleau-Ponty, au sein d'un débat sur le vivant qui remonte à la philosophie kantienne. Si le langage est une manière essentielle pour le vivant d'être au monde, il n'est jamais un médium transparent. La présence du silence permet de révéler l'obscurité qui habite le langage Afin d'éclaircir ce fond obscur constitutif de notre expérience, nous examinons l'influence de la phénoménologie allemande, et la réflexion de Merleau-Ponty sur la littérature, la linguistique et l'art. Se révèle la continuité d'une recherche qui, s'ouvrant sur l'ontologie, dit la profondeur de l'expérience Se trouve ainsi éclairée la fécondité du rapport entre langage et silence, initialement paradoxal, mais qui sous-tend toute activité humaine.

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Préault, Marina. "Sélection sexuelle et qualité individuelle chez le merle noir (Turdus merula)." Paris 6, 2003. http://www.theses.fr/2003PA066268.

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Farrés, Famadas Glòria. "Presència de Proust en l'obra de Merleau-Ponty." Doctoral thesis, Universitat Autònoma de Barcelona, 2005. http://hdl.handle.net/10803/5164.

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Aquest treball gira a l'entorn de la gestació i l'evolució de l'obra de Merleau-Ponty en base a la hipòtesi que l'obra de Proust ha tingut un paper molt important en la definició de la darrera ontologia del filòsof. L'objectiu és analitzar la presència velada de La Recerca amb vista a interpretar algunes de les intuïcions més enigmàtiques dels darrers escrits.
Si bé l'obra de Merleau-Ponty es centra inicialment en la qüestió de la visió i en l'anàlisi del cos perceptiu, de seguida neix l'interès per la paraula com un procés derivat del món perceptiu que potencia l'instrument significant del cos. L'expressió corporal i lingüística definirà l'estructura ontològica que determina els vincles orgànics que el subjecte manté amb el món. L'experiència d'aquesta dependència mútua entre elements interns i externs, visibles i invisibles, dibuixa un Ésser de porositat. Aquest pas d'una fenomenologia de la percepció a una ontologia de la visió es realitza en bona part sobre la idea de quiasme (terme que pren de la retòrica). L'estil de Proust excel·leix precisament perquè descriu en detall els elements quiasmàtics que enllacen la vivència amb aquell invisible on es submergeix la mirada i dóna compte del rerefons latent que impregna tota experiència. La petita frase musical o el gust de la magdalena (Pel camí de Swann) no són idees provocades des del subjecte sinó que s'esdevenen en la vivència, sorgeixen naturalment, i per això Merleau-Ponty les anomena idees sensibles. En aquest tipus d'idees troba un punt de recolzament per vertebrar el sensible: són els indicis que el que hi ha és una fissió que fa néixer el visible i l'invisible alhora, l'un per l'altre, són l'expressió d'una idealitat que no és estrangera a la carn, sinó que, al contrari, li dóna els seus eixos, la seva profunditat i les seves dimensions.
A partir d'un cert moment, el filòsof assumeix la necessitat d'haver d'abandonar un llenguatge eloqüent per passar a un llenguatge de significació indirecta que li permeti, seguint el camí traçat per Proust, aprofundir en la riquesa de la multiplicitat sensible (pensem en les descripcions de l'aigua de la piscina a L'Oeil et l'Esprit, del color vermell dels teixits, del desvetllament del matí, etc., a Le visible et l'invisible). El filòsof reprèn aquest estil orgànic per poder definir una ontologia del sensible que retroba en l'obra de Proust, especialment en les idees sensibles i en el rerefons de passivitat, uns puntals que cimenten la darrera formulació del quiasme. A la llum de l'estil proustià, l'experiència perceptiva que descriu Merleau-Ponty esdevé un mode específic de l'ésser i revela una definició del quiasme a partir de l'acte creatiu. El treball posa de manifest aquesta consonància estilística, confrontant els textos dels dos autors des de la forma, i sobretot, des del fons on tots dos es submergeixen. Més enllà de rastrejar el substrat filosòfic d'una obra de ficció, s'indaga en allò que la literatura i la filosofia es poden llegar l'una a l'altra.
This thesis revolves around the way Merleau-Ponty's work has evolved and is based on the hypothesis that Proust's work has played a very important role in shaping the philosopher's later ontology. Its objective is to study the veiled influence of In Search of Lost Time with a view to interpreting some of the most enigmatic intuitions of the later writings.
Although Merleau-Ponty's work initially focuses on the notion of seeing and an analysis of the perceptive body, an interest soon arises for the word as a process derived from the perceived world which enhances the instrument of signification of the body. Bodily and linguistic expression define the ontological structure which determines the organic links that the subject maintains with the world. The experience of this mutual dependence between internal and external, visible and invisible elements makes up a Porous being. This step from a phenomenology of perception towards an ontology of seeing is largely formulated around the idea of the chiasm (a term that he borrows from rhetoric). Proust's style excels precisely for its detailed description of chiasmic elements which link living experience with the invisible whereby our seeing is immersed into and becomes aware of the latent backdrop which impregnates all experience. The small phrase of the musical piece or the taste of the piece of cake (Swann's Way) are not ideas provoked by the subject but arise from experience. They spring up naturally, and that's why Merleau-Ponty calls them ideas of sensation. He finds a point of support in this type of ideas with which to vertebrate the sensible: they are indications that there is a fissure which gives birth to the visible and the invisible at the same time. Both the former and the latter are the expression of an ideality which is not alien to the flesh, but on the contrary, gives it its axis, its depth and its dimensions.
From a certain moment on, the philosopher recognises the need to give up an eloquent language in order to proceed towards a language of indirect signification which will enable him, following the path marked out by Proust, to delve in depth into the wealth of sensible multiplicity (for example, the descriptions of pool water in "Eye and Mind, of the red colour of fabrics, of the coming of dawn, etc., in The visible and the invisible). The philosopher takes up this organic style once again in order to define an ontology of the sensible which he rediscovers in Proust's work, especially in the sensible ideas and the backdrops of passivity, pillars on which rests the later formulation of the chiasm. In the light of the Proustian style, perceptive experience described by Merleau-Ponty becomes a specific mode of being which reveals a definition of the chiasm through the creative act. The thesis deals with this stylistic consonance, approaching the texts by the two authors from the point of view of form, and above all, from the depth where both of them are immersed. More than tracing the philosophical substratum of a work of fiction, it delves into the realm where literature and philosophy can be linked to one another.

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Mont, Verdaguer Maria. "Del Ver y del Decir en Merleau-Ponty." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/369561.

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El presente trabajo busca determinar la relación entre los ejes del lenguaje y la visión como entidades propias y fundantes del saber a través de la obra de Merleau-Ponty. Se trata pues de comprender cómo y en qué medida las dimensiones lingüística y visual del conocer construyen en el hombre un poso de conocimiento, un asiento positivo del saber. A partir del estudio de la evolución del primer al segundo Merleau-Ponty y del anàlisis de algunos de sus conceptos fundamentales tales como: la chair, la relación ser-objeto, la intencionalidad operante, el solapamiento (empiètement), el quiasmo, la libertad, el sentido, la dimensionalidad, etc. trataremos de aclarar cómo en su obra el lenguaje y la visión se desvinculan de la verdad, abriéndose al vacío y a la indeterminación. De ese modo, en el acercamiento al ámbito del lenguaje nos fijaremos en la ruptura que suponen los estudios de nuestro autor respecto a los momentos predialécticos del lenguaje. Un estadio que se alcanza gracias, no únicamente a su célebre rehabilitación de ese fenómeno que es el cuerpo, sino además a la recuperación del silencio, la subdivisión de la palabra y la instauración del sentido como co-naissance que dan lugar a un lenguaje profundamente neutro. Por otro lado, en el tratamiento de la visión revisaremos, además de la superación de ciertos arquetipos visuales, su carácter promiscuo e intersticial que nos conduce a una visibilidad latente y atmosférica, igualmente alejada de la verdad o la literalidad de antaño. Ambas dimensiones, abiertas ahora a la indeterminación, articularán un conocimiento paradójicamente hendido por el vacío y el no-saber
In our study, we are seeking to establish the relationship between the dimensions of language and vision as core entities of human knowledge through Merleau-Ponty’s work. It is about trying to understand how the linguistic and the visual aspects form a ground of human knowledge. Through the study of the evolution of Merleau-Ponty’s principles from his first to his second period and through the analysis of some of his concepts such as the flesh (chair), the relation being-object, operative intentionality, the overlapping (empiètement), the chiasmus, the freedom, the sense, the dimensionality, etc. we will try to shed light on how language and vision dissociate from truth to reopen themselves to emptiness and indetermination. Thus, in our approach to the sphere of language, we will focus on how the work of our thinker helps to undermine the so-called pre-dialectical moments of language. This stage is not only reached by his famous rehabilitation of the phenomenon of the body but also throughout the silence, the subdivision of the word and the establishment of the sense as a co-birth (co-naissance) which gives rise to a profoundly neutral language. One the other hand, while dealing with vision we will review, besides of the overcoming of certain visual archetypes, its promiscuous and interstitial nature that leads us to a latent and atmospheric visibility, equally distant from the truth as from the former literality. Both dimensions, will now open to the indetermination, and articulate a knowledge paradoxically split by emptiness and unknowledge.

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Jensen, Max Joakim Mouritzen. "De andra hos Merleau-Ponty : Om fenomenologisk intersubjektivitet." Thesis, Södertörn University College, The School of Culture and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1701.

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I Logische Untersuchungen formulerade Edmund Husserl sin fenomenologi – ”en filosofi som sträng vetenskap”. Fenomenologin med dess metod, epochén, skall utövas under parollen ”Till sakerna själva!” Genom att ifrågasätta invanda tankesätt skall vi sätta världen inom parentes och därigenom nå objektiv kunskap.

Denna uppsats behandlar intersubjektivitetsproblemet hos fenomenologin. Genom en studie av Husserls Cartesianische Meditationen, Martin Heideggers Sein und Zeit och Maurice Merleau-Pontys Phénoménologie de la perception närmar jag mig frågan om ”De andra hos Merleau-Ponty”. Hur kan vi förstå den andre och annanheten när fenomenologins epoché är en metodisk solipsism som berövar subjektet dess värld?

Merleau-Ponty gör oförnuftet, tvetydigheten och slumpen till tema för sitt tänkande. Genom perceptionen varseblir vi världen och subjektet är (i) sin värld genom den levda kroppen. Det finns inget ”inre” utan det är genom världen, och vår verksamhet däri, som vi känner oss själva. Merleau-Pontys subjekt är ”vikt åt världen”.

In Logische Untersuchungen Edmund Husserl defined his phenomenology as a science for finding objectivity. The method of phenomenology, the phenomenological reduction, would provide knowledge on indubitable grounds by going back “to the things themselves”. We must put the world aside if we want to find objective knowledge.

This essay is a reading of Edmund Husserls Cartesianische Meditationen, Martin Heideggers Sein und Zeit and Maurice Merleau-Pontys Phénoménologie de la perception, and their theories of the others. How can we understand other in our mind when phenomenology in the course of its methodological solipsism, thought the phenomenological reduction, would seem to deprive the subject from the world?

Merleau-Ponty makes ambiguity and accidental existence a theme for his philosophy. Through perception we apprehend the world, as lived through with our bodies. There is no “inner man”. With some else’s words: ”Your abode is your act itself. Your act is you.”

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Andrade, Eloísa Benvenutti de [UNESP]. "Corpo e consciência: Merleau-Ponty, crítico de Descartes." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91762.

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L’objectif de cette étude est d’analyser le statut de la conscience et du corps chez Merleau- Ponty en prenant comme guide pour son interprétation de la pensée de Descartes. Nous comprenons surtout que l’étude des thèses merleaypontyenne, celles qui critiquent et problématisent les conceptions de la conscience soutenues par l’ontologie dualiste de Descartes, peut contribuer à une formulation d’une nouvelle approche de l’esprit qui ne reproduise pas les mêmes problèmes de cette ontologie, plus spécifiquement ceux qui ont du rapport avec l’interaction causale esprit/corps. L’intention est de montrer comment Merleau- Ponty construit sa lecture sur le dualisme cité et comment lui, il fait son opposition à ce fondement. Pour en faire nous nous arrêterons principalement sur les references à Descartes présentées dans la Phénoménologie de la perception et dans La structure du comportement en proposant, dans cette mesure, des subsides pour une possible lecture de l’oevre Le visible et l’invisible
O objetivo do presente trabalho é analisar o estatuto da consciência e do corpo no pensamento de Maurice Merleau-Ponty, tomando como fio condutor a sua interpretação do pensamento de Descartes. Em especial, entendemos que um estudo das teses merleau-pontianas, que criticam e problematizam as concepções de consciência alicerçadas sobre a ontologia dualista de Descartes, pode contribuir para a formulação de uma nova abordagem da mente que não reproduza os mesmos problemas desta ontologia, mais especificamente aqueles relacionados à interação causal mente/corpo. Desta forma, a intenção é mostrar como Merleau-Ponty constrói a leitura sobre o dualismo supracitado em sua obra, e como pretende objetar tal fundamento. Para tal, deter-nos-emos principalmente nas referências a Descartes presentes na Fenomenologia da percepção e também no apresentado em A estrutura do comportamento propondo, nesta medida, subsídios para uma possível leitura de O visível e o invisível

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Simonova, Jelena. "Kalba ir kalbėjimas Maurice'o Merleau-Ponty fenomenologinėje filosofijoje." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110204_101857-08763.

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Kalba ir kalbėjimas Maurice’o Merleau-Ponty fenomenologinėje filosofijoje Disertacijoje apmąstoma kalbos ir kalbėjimo dichotomija. Ferdinando de Saussure’o įvesta ir Merleau-Ponty interpretuota bei vaisingai išplėtota perskyra analizuojama todėl, kad individualus kalbėjimas, pasitelkus fenomenologinę perspektyvą, atsiskleidžia kaip gyvas ir intencionalus, – šiuo požiūriu jis įgyja pranašumų kalbos, kaip uždaros ženklų sistemos, atžvilgiu. Kalbėjimo reikšmės diakritiškumo problema darbe artikuliuojama, turint omenyje, kad juslinis suvokimas yra diakritinis. Dar daugiau, juslinis suvokimas pirmapradiškai yra išraiškingas ir visada koreliuoja su gyvenamo kūno ekspresyvumu, todėl Merleau-Ponty filosofijoje semantika yra įkūnyta semantika. Disertacijos autorei pritariant Merleau-Ponty įžvalgai, postuluojama, jog tapyba, literatūra bei filosofija taip pat yra kalbėjimo formos, kurių šaltinis inkrustuotas žmogaus kūniškume. Pratęsdamos gestą ir būdamos apspręstos prigimtinio žmogaus troškimo išreikšti ir pasakyti kažką vis naujai, jos išreiškia pirmapradį žmogaus patiriamą santykį su pasauliu bei liudija kalbinės žmogaus veiklos kreatyvumą. Formuluojant šio tyrimo objektą, tikslinga išskirti ir paties Merleau-Ponty filosofavimo stilių bei ypatingą, analogo neturinčią kalbėjimo manierą. Ji išlaisvina bei pagrindžia kiekvieno žmogaus giliai asmeninio santykio su jo paties kalbėjimu galimybę ir atveria kelią naujai filosofavimo tendencijai, kuri numano žmogiškojo aš savęs bei jo... [toliau žr. visą tekstą]
The thesis reflects on the dichotomy of language and speech. The separation, introduced by Ferdinand de Saussure and successfully interpreted and developed by Merleau-Ponty, is analyzed from a phenomenological perspective where the individual speech appears as live and intentional act; from this perspective, it gains advantages against the language as a system of signs. The problem of the diacricity of the meaning of speech is articulated keeping in mind that sensory perception is also diacritical. Moreover, sensory perception is expressive initially and always correlates to the expressivity of the lived body; therefore, the semantics of the philosophy of Merleau-Ponty represents embodied semantics. The author of the thesis agrees with the insight of Merleau-Ponty and his postulates that artistic painting, literature, and philosophy are forms of speaking whose resources are incrusted in the corporeity of human beings. Representing the extension of gestures and being determined by natural willingness of human beings to say and express something new, such forms of expression disclose the initial relationship of human beings with the world and witness the creativity of the linguistic activities of human beings. Defining the object of the research, it is reasonable to set the philosophical style and unmatched manner of speaking of Merleau-Ponty. It deliberates and substantiates the possibility of individual relationship of every human being with his/her speaking, and opens the... [to full text]

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48

Gomez, Perez Gustavo. "Gesture and Art in Heidegger and Merleau-Ponty." Thesis, Boston College, 2014. http://hdl.handle.net/2345/bc-ir:104044.

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Thesis advisor: John Sallis
The present dissertation explores the motif of gesture and demonstrates that it encompasses the resonances between the works of Heidegger and Merleau-Ponty. My thesis specifically is that the notion of gesture articulates the problems of art and language, revealing fundamental convergences in the ways in which Heidegger and Merleau-Ponty investigate a non-metaphysical approach to the sensible and question the limits of philosophy. I develop this argument by closely following Merleau-Ponty's reading of Heidegger's works in the lecture-notes from his courses at the Collège de France. I also rely heavily on Heidegger's reflections on gesture and the body as they are depicted in the Zollikon seminars, considering that some of these reflections retrieve crucial arguments from Being and Time and that they bear a significant resemblance to Merleau-Ponty's understanding of the body. In this way, I elucidate what may be called the gestural character of the work of art and language, establishing structural connections between the texts of these two thinkers. This dissertation is divided into three parts. I devote the first part to the themes of the body and gesture and show that the concept of form and the problem of perception lead to questions concerning the possibilities of a phenomenology of the body. I conclude this part by arguing that, for both Heidegger and Merleau-Ponty, the notion of gesture corresponds to a phenomenological approach to the body as openness to the world and as an affective milieu. Departing from the arguments and comparisons delineated in the first part, in the second and third parts I examine separately the works of Heidegger and Merleau-Ponty in order to determine the settings of the notion of gesture within their respective approaches to art and language. The second part treats problems concerning the sensible character of the work of art, arguing that gestures perform a poetical disclosure of nature. In the third part I focus on questions of language and demonstrate that gestures unfold what could be called the logos of the sensible, which constitutes the primary source of language and meaning. I conclude by interpreting Heidegger's work as a gestural philosophy that emphasizes the performative dimension of language, an emphasis that is missing from Merleau-Ponty's work
Thesis (PhD) — Boston College, 2014
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Philosophy

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49

Perez, Carrasco Andres. "Merleau-Ponty's Phenomenology of Painting, Gestalt, and Reversibility." Thesis, Boston College, 2012. http://hdl.handle.net/2345/3715.

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Thesis advisor: John Sallis
Maurice Merleau-Ponty's last essay about art, Eye and Mind, refers to many painters, to painting, and even to sculpture. Yet there is hardly any use of the traditional categories used in art criticism to categorize artistic movements or to evaluate painters' contributions to their period. Instead, he uses terms such as `body' and `flesh' that are alien to that tradition, thereby indicating that he clearly intends to go beyond commenting on and assessing the artistic value of the works he mentions. Instead, the essay is a reevaluation of meaning of painting as a whole. Merleau-Ponty says that all painting from Lascaux to our day has been a celebration of `the visible.' However, to understand what he means by `the visible' involves considerable complexity. The standard by which Merleau-Ponty evaluates painting emerges from his phenomenological and ontological research into perception. I argue that in fact Eye and Mind answers a question that arose in his first major book concerning the relationship between consciousness and nature. Because the evolution of the ideas underlying the Eye and Mind's answer is so vast, the goal of this dissertation is to trace the thread leading from his earlier work in order to provide a unifying viewpoint that will ground an adequate understanding of the essay's various arguments. The dissertation argues that Merleau-Ponty's notion of the Gestalt or structure is the framework for understanding the origin and depth of the aperçus developed in Eye and Mind. Ironically perhaps, this notion is not mentioned in Eye and Mind. As if it had lost its original meaning, it is only referred to indirectly and vaguely in terms of transcendence. Nevertheless, the main issue settled in The Structure of Behavior dominated his understanding of the body in The Phenomenology of Perception, and underwent a transformation when Merleau-Ponty discovered language as a diacritical structure. This made possible the radical use he made of it in Eye and Mind without expressly mentioning it. Once the interpretation of Gestalt in relation to Paul Klee and Rudolf Arnheim had been worked out, this dissertation could use this notion--usually undervalued in Merleau-Ponty scholarship--to make sense of Eye and Mind's main contention in light of the interpretive reconstruction of the notions of expression, reversibility, body, and flesh Merleau-Ponty elaborated on the way to that essay. Part I of the dissertation deals with the phenomenology of the Gestalt structure prior to Merleau-Ponty's ontological turn, which in turn frames and underpins many of the insights achieved in this pre-ontological period, especially those about the body. The first two chapters introduce the notion of structure as it emerges in its application to behavior, and explain Merleau-Ponty's own contribution to the notion through the overcoming of earlier psychologists' static reduction of the notion to the physical level. The third and last chapter of Part I discusses the structural dimension of the body. There are two extraordinary things in Eye and Mind: the first is Paul Valery's statement that the painter "takes his body with him"; and the second is the analogy between the problems of the body and the problems of painting, by which Merleau-Ponty proposes that understanding one is indispensable for understanding the other. To clarify his proposal we have to return to The Phenomenology of Perception's analysis of the body according to embodied intentionality or motor intentionality, in which the body operates according to an "I can" that must replace the mechanical reaction to a stimulus. Here Merleau-Ponty was helped by Kurt Goldstein's insight into the body as a Gestalt. The dissertation illustrates what this could mean for the structure of a painting by using examples. What was formerly Part II profiles Merleau-Ponty's embodied notion of the Gestalt form against Arnheim's aprioristic account, which explains the relationship between consciousness and nature through an isomorphism that is even more ambitiously totalizing than the ones envisioned by the original Gestalt psychologists. Because of the detailed nature of our account this part is in two appendices. What is now Part II focuses on the problem of painting more directly. Using both the Notes de Cours (where Merleau-Ponty's most extensive comments on Paul Klee occur) and Paul Klee's own celebrated Notes, Chapter Four on Paul Klee reconsiders the relationship between consciousness and nature as the one between the painter and the world. Klee interpreted abstraction in terms of Gestalt as a form of transcendence involving the visible and the invisible, in contrast to Sartre's idea of transcendence, which also employs the figure/ground formation of the Gestalt. In Eye and Mind the expression of painting is interpreted as "a `visible' to the second power, a carnal essence or icon of the first." So Chapters Five and Six discuss the notion of structure from the viewpoint of expression. The doubling of expression in painting is seen first as analogous to philosophy as a hyper-reflection, and then in the linguistic distinction between le langage parlé et le langage parlant, which allowed Merleau-Ponty to interpret and generalize the model of expressive language via the diacritical structure of language and not restrict expressive language to bodily gestures. Rather than a return to the original (as The Phenomenology may have suggested), the point of this doubling aspect of expression is the recognition of the qualities of reversibility and difference that constitute `depth.' With the clarification of terms such as `perceptual faith' and `style,' Chapter Seven introduces the notion of reversibility before exploring its meaning, specifically in the second chapter of Eye and Mind. In Chapter Eight the earlier focus on the beginning of the definition of a painting as "a `visible' to the second power, a carnal essence or icon of the first," shifts to the meaning of the term "icon." This rounds off the meaning of `depth' and completes the exploration of the theme of the Gestalt structure. Now it becomes clear that the meaning of `depth' is articulated as the depth between the visible and the invisible, because the model used to understand depth is the by now very familiar basic articulation of the perceptual Gestalt: the articulation of a figure over a ground. Like a stain on a rug--in painting, in history, in philosophy, in language, or in perceptual faith--the crystallization of what appears always disguises an invisible dimension, whose invisibility is what makes the visibility of the visible possible. Chapter Nine then concludes the dissertation. It first considers Jean-Luc Marion's use of the icon in painting, in which, as in our interpretation of Merleau-Ponty on depth, uses his own idea of the depth between the visible and the invisible; and second, it responds to observations on Merleau-Ponty's philosophy of art by Veronique Fotí and criticisms of it by Michel Haar
Thesis (PhD) — Boston College, 2012
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Philosophy

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50

Pastre, Jose Luiz 1963. "Expressão e coexistencia : alguns signos em Merleau-Ponty." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253456.

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Orientador : Silvio Donizetti de Oliveira Gallo
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Dissertations / Theses on the topic 'Merlau'

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