Art, Truth and Ontology : According to the phillosophy of Merleau-Ponty
| Project/Area Number |
17520018
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Philosophy/Ethics
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| Research Institution | Kyushu University |
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Principal Investigator |
TSUBURAYA Yuji Kyushu University, Faculty of Humanities, Professor (60227460)
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| Project Period (FY) |
2005 – 2007
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| Project Status |
Completed (Fiscal Year 2007)
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| Budget Amount *help |
¥1,980,000 (Direct Cost: ¥1,800,000、Indirect Cost: ¥180,000)
Fiscal Year 2007: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
Fiscal Year 2006: ¥600,000 (Direct Cost: ¥600,000)
Fiscal Year 2005: ¥600,000 (Direct Cost: ¥600,000)
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| Keywords | Ontology / Truth / Art / Body / Perception / World / Perspective / Flesh / メルロ=ポンティ / パースペクティヴ主義 / 基礎づけ主義 / 絵画論 / 見えるもの / 見えないもの / 内部存在論 / 間接的方法 / 反省 / 真理 / 存在 / 再帰性 / 可逆性 / 現象学 / 主体性 |
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| Research Abstract |
The main purpose of the project is to clarify epoch-making significance of Merleau-Ponty in the history of philosophy while I focus my attention on his truth theory, ontology and philosophy of art.
Chapter 1 of this article elucidates his truth theory from indivisible relations with his perspectivism while mainly according with The Phenomenology of the Perception that is a first-term most important work. A bodily subject as being-in-the-world is not that which can recognize the world from the world outside, but it can live things and the world only perspectively. The originality of his perspectivism enables the proper conception of the world ,time and truth.
Chapter 2 discusses a characteristic of the methodology in his latter period by paying attention to the ontology which The Visible and the Invisible makes the subject. Furthermore, it studies the main reason why his viewpoint shifted from phenomenology to ontology. With Chapter 3, we interpret his perception theory as dialectic relations between the visible and the invisible while being based on consideration with Chapter 2.
Chapter 4 takes up his artistic discussion. He does not consider art to be an original domain distinguished from the other various domains, but places it as a rather typical model of the way how our body perceives the world. In other words, it is nothing but that it does grounds of the perception in a problem to make a problem what the art is.
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Report
(4 results)
Research Products
(10 results)
