Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl
Ograniczanie wyników
Preferencje help
Widoczny [Schowaj] Abstrakt
Liczba wyników

Znaleziono wyników: 2

Liczba wyników na stronie
first rewind previous Strona / 1 next fast forward last
Wyniki wyszukiwania
help Sortuj według:

help Ogranicz wyniki do:
first rewind previous Strona / 1 next fast forward last
Filozofia (Philosophy)
|
2014
|
tom 69
|
nr 8
708 – 718
EN
This paper intends to demonstrate that, beginning with his analyses of dream and hallucination in Phenomenology of perception up to his definition of dehiscence as ontological principle in The Visible and the Invisible, Merleau-Ponty holds the audacious assumption that the subject is thrown into a dreamlike and bewitched world and the self is diffracted into many reflections. It is, the author will claim, a fundamental thesis in his philosophy in as much as it enables him to unveil and even radicalize the modern crisis and to pose a crucial ethical problem: if reason is not guaranteed and has to arise perilously from irrational depths, the self is threatened by inauthenticity, illusion and alienation; the existence is a strange dream which may anytime turn into a nightmare. He will also show that Merleau-Ponty reverses this crisis into an asset: a reality which includes a fundamental dimension of imaginary leaves us free to create new metamorphoses.
Filozofia (Philosophy)
|
2015
|
tom 70
|
nr 9
748 – 758
EN
Reality presents itself in „adumbrations“. It is not due to the subject whose perception is distorted by his/her insufficient abilities; it is due to the real itself, which is unstable and incomplete. The being of things and persons is fundamentally multiplied, dispersed among thousands of “adumbrations”. Yet these various appearances, though not representing a perfectly defined, cohesive whole closed in it, do not produce a sheer chaos. Merleau-Ponty models the reality of a thing/person on a melodic theme. If the theme does occur in the painting, there is also the thing itself in it. Paintings are components of the being of the reality itself. In them the adventures of the reality’s existence continue. The work of art represents the thing as such, nevertheless a different, transformed thing in the form of a noble, fragile, wandering spiritual body.
first rewind previous Strona / 1 next fast forward last
JavaScript jest wyłączony w Twojej przeglądarce internetowej. Włącz go, a następnie odśwież stronę, aby móc w pełni z niej korzystać.