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Art, Truth and Ontology : According to the phillosophy of Merleau-Ponty

艺术、真理与本体论：根据梅洛-庞蒂的哲学

基本信息

批准号：
17520018
负责人：
TSUBURAYA Yuji
金额：
$ 1.27万
依托单位：
Kyushu University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2005
资助国家：
日本
起止时间：
2005 至 2007
项目状态：
已结题

项目摘要

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.

本项目的主要目的是阐明梅洛-庞蒂在哲学史上的划时代意义，而我关注的是他的真理论、本体论和艺术哲学。本文第一章主要根据他的第一学期最重要的著作《知觉现象学》，从他的透视主义不可分割的关系出发，阐述了他的真理论。作为“在世界”的肉体主体，不是能够从外部世界认识世界的主体，而是只能透视地认识事物和世界的主体。他的透视主义的独创性使他能够正确地认识世界、时间和真理。第二章通过关注《看得见的与看不见的》作为主体的本体论，论述了他后期方法论的一个特点。进而探讨了他的观点从现象学转向本体论的主要原因。在第三章中，我们在对第二章的思考的基础上，将他的感知理论解释为可见与不可见之间的辩证关系。第四章对他的艺术进行了探讨。他并不认为艺术是一个与其他领域不同的原始领域，而是将其作为我们身体感知世界的方式的典型模型。换句话说，它只是在一个问题的感知基础上创造了一个问题，艺术是什么。