What is Photography is magic [PIM]? What does it do? And how does it do it? This short essay addresses these questions in relation to two reviews of the book written by Loring Knoblauch (2015) and Daniel C. Blight (2015).
摄影是魔法[PIM]?它是做什么的?它是如何做到的呢?这篇短文通过Loring Knoblauch(2015)和Daniel C. Blight(2015)对这本书的两篇评论来解决这些问题。
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The article aims at developing an analysis of some Merleau-Ponty’s thesis concerning art, perception and ontology, and takes freely the cue from his reflections. In a nutshell, it argues that the creative significance of expression is deeply linked to an essential process, namely the process in which the human body becomes an image.
{"title":"Corps, image, expression. Réflexion à partir de Merleau-Ponty","authors":"R. Gély","doi":"10.13130/2240-9599/7963","DOIUrl":"https://doi.org/10.13130/2240-9599/7963","url":null,"abstract":"The article aims at developing an analysis of some Merleau-Ponty’s thesis concerning art, perception and ontology, and takes freely the cue from his reflections. In a nutshell, it argues that the creative significance of expression is deeply linked to an essential process, namely the process in which the human body becomes an image.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66225979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Merleau-Ponty’s notion of expression originates from his interests in the bodily subjectivity and is rooted in his phenomenology of perception, where he discusses language and speech in the light of his notion of embodiment. Yet this first achievement leaves some questions open. In his deepening of the problems of perception Merleau-Ponty is led to relate perception and expression in the light of a renovated investigation of the ontological implications of the former, which also leads to articulate more widely the latter. Merleau-Ponty encounters De Saussure’s diacritical and structural approach to language and integrates it within a processual understanding of Being. In this paper some aspects of the evolution of this themes are discussed and evaluated.
{"title":"Metamorfosi. La questione dell'espressione nella filosofia di Merleau-Ponty","authors":"L. Vanzago","doi":"10.13130/2240-9599/7961","DOIUrl":"https://doi.org/10.13130/2240-9599/7961","url":null,"abstract":"Merleau-Ponty’s notion of expression originates from his interests in the bodily subjectivity and is rooted in his phenomenology of perception, where he discusses language and speech in the light of his notion of embodiment. Yet this first achievement leaves some questions open. In his deepening of the problems of perception Merleau-Ponty is led to relate perception and expression in the light of a renovated investigation of the ontological implications of the former, which also leads to articulate more widely the latter. Merleau-Ponty encounters De Saussure’s diacritical and structural approach to language and integrates it within a processual understanding of Being. In this paper some aspects of the evolution of this themes are discussed and evaluated.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"66 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66225936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper investigates the relations between perception and language in Maurice Merleau-Ponty’s philosophy in the light of the recent publications of the course notes dating back to the early fifties, Le monde sensible et le m onde de l'expression and Recherches sur l'usage litteraire du langage . The first course gives us an articulated conception of expression, which plays a decisive role in explaining the continuity between perception and language. Perception is closely associated with linguistic acts of parole and sharing an expressive, diacritical structure analogous to the one characterizing linguistic meanings. Nonetheless some philosophical problems regarding Merleau-Ponty’s basically phenomenological method of searching for the roots of linguistic meanings in perceptions are considered. In the second course the idea of the two alleged languages finds support and is developed in a more radical direction through Merleau-Ponty’s engagement with the experience of the writer trying to find new words to convey his own experience of the word. This emphasis on the langage conquerant at the expenses of ordinary shared linguistic practices is critically considered, also in the light of other research trajectories followed by the French philosopher in the same period.
{"title":"Merleau-Ponty from perception to language. New elements of interpretation","authors":"R. Dreon","doi":"10.13130/2240-9599/7962","DOIUrl":"https://doi.org/10.13130/2240-9599/7962","url":null,"abstract":"The paper investigates the relations between perception and language in Maurice Merleau-Ponty’s philosophy in the light of the recent publications of the course notes dating back to the early fifties, Le monde sensible et le m onde de l'expression and Recherches sur l'usage litteraire du langage . The first course gives us an articulated conception of expression, which plays a decisive role in explaining the continuity between perception and language. Perception is closely associated with linguistic acts of parole and sharing an expressive, diacritical structure analogous to the one characterizing linguistic meanings. Nonetheless some philosophical problems regarding Merleau-Ponty’s basically phenomenological method of searching for the roots of linguistic meanings in perceptions are considered. In the second course the idea of the two alleged languages finds support and is developed in a more radical direction through Merleau-Ponty’s engagement with the experience of the writer trying to find new words to convey his own experience of the word. This emphasis on the langage conquerant at the expenses of ordinary shared linguistic practices is critically considered, also in the light of other research trajectories followed by the French philosopher in the same period.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":"48-76"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66225947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"F. Wolff, Pourquoi la musique?","authors":"Stefano Oliva","doi":"10.13130/2240-9599/7312","DOIUrl":"https://doi.org/10.13130/2240-9599/7312","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":"96-100"},"PeriodicalIF":0.0,"publicationDate":"2016-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"P. Criton, J.-M. Chouvel (sous la direction de), Gilles Deleuze. La pensée-musique","authors":"Stefano Oliva","doi":"10.13130/2240-9599/7311","DOIUrl":"https://doi.org/10.13130/2240-9599/7311","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":"92-95"},"PeriodicalIF":0.0,"publicationDate":"2016-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article investigates the relationship between aesthetics and the architectural preservation of the past through three issues: the analysis of the ontological status of the object to be preserved, the approaches to it and the taboo of death.
{"title":"Estetica e conservazione del passato","authors":"S. Chiodo","doi":"10.13130/2240-9599/7310","DOIUrl":"https://doi.org/10.13130/2240-9599/7310","url":null,"abstract":"The article investigates the relationship between aesthetics and the architectural preservation of the past through three issues: the analysis of the ontological status of the object to be preserved, the approaches to it and the taboo of death.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"8 1","pages":"81-91"},"PeriodicalIF":0.0,"publicationDate":"2016-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
If it is true that a painting can ‘think visually’, then Diderot was the first one to state it; he also said it better than anyone else. Diderot’s Salons show precisely that the ‘imaginal’ sense that arises from the fruition of pictures needs to be investigated on the basis of the concepts of ekphrasis and theatricality – understood as the capacity of exploring the power of pictures in close relation to the composition of the scene, the expressive and pantomimic gestures and what can be called a ‘theory of affections’.
{"title":"Picture, Poetry and Theatricality. Writing the Salons is ‘describing’ the Salons","authors":"M. Mazzocut-Mis","doi":"10.13130/2240-9599/7309","DOIUrl":"https://doi.org/10.13130/2240-9599/7309","url":null,"abstract":"If it is true that a painting can ‘think visually’, then Diderot was the first one to state it; he also said it better than anyone else. Diderot’s Salons show precisely that the ‘imaginal’ sense that arises from the fruition of pictures needs to be investigated on the basis of the concepts of ekphrasis and theatricality – understood as the capacity of exploring the power of pictures in close relation to the composition of the scene, the expressive and pantomimic gestures and what can be called a ‘theory of affections’.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"8 1","pages":"68-80"},"PeriodicalIF":0.0,"publicationDate":"2016-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this paper is to further examine the aesthetical and theoretical relationship between the Romantic movement and French Impressionism, including its further development into pointillism and/or post-impressionism. The examination focuses on the German Romantic movement (from a theoretical viewpoint) as well as on the English Romantic movement (from a pictorial perspective: mainly, the Turner-Ruskin relationship). This hermeneutical journey takes place both through the analysis of specific works by main figures belonging to these art movements and through the examination of some of the theoretical concepts associated with their aesthetical doctrines, which have been referenced to either explicitly or implicitly.
{"title":"Romanticism and Impressionism. A path between Turner and Monet","authors":"Giampiero Moretti","doi":"10.13130/2240-9599/7306","DOIUrl":"https://doi.org/10.13130/2240-9599/7306","url":null,"abstract":"The purpose of this paper is to further examine the aesthetical and theoretical relationship between the Romantic movement and French Impressionism, including its further development into pointillism and/or post-impressionism. The examination focuses on the German Romantic movement (from a theoretical viewpoint) as well as on the English Romantic movement (from a pictorial perspective: mainly, the Turner-Ruskin relationship). This hermeneutical journey takes place both through the analysis of specific works by main figures belonging to these art movements and through the examination of some of the theoretical concepts associated with their aesthetical doctrines, which have been referenced to either explicitly or implicitly.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":"1-19"},"PeriodicalIF":0.0,"publicationDate":"2016-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226311","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The image of nude appears to have ‘moved’, both because of the shift in our gaze and its point of reference. That is, unless this ‘negative emphasis’ is seen only as the uncritical acceptance of that ‘polarizing question’ that declared the end of Classical art and the decisive advent of modernity or as the effect of an hermeneutic excess ‒ of a philosophical definition of the nude implicit in our figurative culture – is it now the moment to go beyond the observation of the canonic nude and to develop new approaches to nudity? Despite its obviousness, the nude, too, is difficult to define. Where does the garment begin and the gown end? The skin and the flesh? How are we to describe the forces, movements and gestures of the body and its involucres? I will argue that the nude should be neither a pictorial genre nor a philosophical concept, but a «thought of the body» (De Chirico). It is an aesthetic figure with the power of affection and perception, but also a conceptual figure. It is not a ‘critical operator’ ‒ a cognitive ‘walk-on’ or extra ‒ but an actor with the power of speech, capable of forming and transforming new relationships with observers.
{"title":"Thoughts on the nude body","authors":"P. Fabbri","doi":"10.13130/2240-9599/7307","DOIUrl":"https://doi.org/10.13130/2240-9599/7307","url":null,"abstract":"The image of nude appears to have ‘moved’, both because of the shift in our gaze and its point of reference. That is, unless this ‘negative emphasis’ is seen only as the uncritical acceptance of that ‘polarizing question’ that declared the end of Classical art and the decisive advent of modernity or as the effect of an hermeneutic excess ‒ of a philosophical definition of the nude implicit in our figurative culture – is it now the moment to go beyond the observation of the canonic nude and to develop new approaches to nudity? Despite its obviousness, the nude, too, is difficult to define. Where does the garment begin and the gown end? The skin and the flesh? How are we to describe the forces, movements and gestures of the body and its involucres? I will argue that the nude should be neither a pictorial genre nor a philosophical concept, but a «thought of the body» (De Chirico). It is an aesthetic figure with the power of affection and perception, but also a conceptual figure. It is not a ‘critical operator’ ‒ a cognitive ‘walk-on’ or extra ‒ but an actor with the power of speech, capable of forming and transforming new relationships with observers.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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