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Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "über-artist ...
As architectural phenomenology became established in academia, professors expanded its considerations through theory seminars beyond Gaston Bachelard [9] and Martin Heidegger, to include Edmund Husserl, Maurice Merleau-Ponty, [10] Hans-Georg Gadamer, Hannah Arendt and theorists whose modes of thinking bordered on phenomenology, including Gilles ...
Their architectural works draw from the philosophical tradition of Maurice Merleau-Ponty and Martin Heidegger, the correlation of the body and its sensory-motor functions. Merleau-Ponty in Phenomenology of Perception [ 6 ] asserts that, “the body and mind cannot be separated as subject and object”.
Merleau-Ponty attempts to define phenomenology, which according to him has not yet received a proper definition.He asserts that phenomenology contains a series of apparent contradictions, which include the fact that it attempts to create a philosophy that would be a rigorous science while also offering an account of space, time and the world as people experience them.
Edmund Husserl "set the phenomenological agenda" for even those who did not strictly adhere to his teachings, such as Martin Heidegger, Jean-Paul Sartre, and Maurice Merleau-Ponty, to name just the foremost. [32] [33] Each thinker has "different conceptions of phenomenology, different methods, and different results." [34]
Phenomenological description has found widespread application within psychology and the cognitive sciences. For example, Maurice Merleau-Ponty is the first well known phenomenologist to openly mingle the results of empirical research with phenomenologically descriptive research.
Les Temps Modernes (lit. ' Modern Times ') was a French journal, founded by Simone de Beauvoir, Jean-Paul Sartre, and Maurice Merleau-Ponty.Its first issue was published in October 1945.
Carbone initially focused his research on the phenomenology of Maurice Merleau-Ponty, specifically the intersection of perceptive and artistic experiences through the examination of Merleau-Ponty's parallel interest in the pictorial work of Paul Cézanne and the literary work of Marcel Proust.