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Doctoral Thesis
DOI
https://doi.org/10.11606/T.8.2014.tde-04022015-121548
Document
Author
Full name
Plinio Santos Fontenelle
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2014
Supervisor
Committee
Suzuki, Marcio (President)
Brandão, Eduardo
Caminha, Iraquitan de Oliveira
Façanha, Luciano da Silva
Ferraz, Marcus Sacrini Ayres
Title in Portuguese
Da percepção à visão radical do mundo: a condição de abertura do plano de imagens no percurso de Merlau-Ponty
Keywords in Portuguese
Fenomenologia
Imagens
Merleau-Ponty
Ontologia
Percepção
Pintura
Plano de imagens
Visão
Abstract in Portuguese
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.
Title in English
From perception to the radical vision of the world: the opening condition of the pictures plane in Merleau-Pontys course
Keywords in English
Images
Merleau-Ponty
Ontology
Painting
Perception
Phenomenology
Pictures plane
Vision
Abstract in English
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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Publishing Date
2015-02-04
 
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