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

本课题的主要目的是阐明梅洛-庞蒂在哲学史上的划时代意义，同时重点关注他的真理论、本体论和艺术哲学。本文第一章从与他的透视主义的不可分割的关系中阐明了他的真理观，并主要与第一学期最重要的著作《知觉现象学》相一致。身在世界的主体，不是能够从外部世界中辨别世界的主体，而是只能透视地生活事物和世界的主体。他的透视主义的独创性使他对世界、时间和真理有了正确的概念。第二章通过关注可见和无形使主体成为主体的本体论，论述了他后期的方法论特征。此外，还研究了他的观点从现象学转向本体论的主要原因。在第三章中，我们把他的知觉理论解读为有形与无形的辩证关系，而在第二章中，我们以思考为基础。第四章是他的艺术论述。他不认为艺术是区别于其他各种领域的一个原始领域，而是将其视为我们身体如何感知世界的一个相当典型的模型。换句话说，它只不过是根据问题中的知觉来使问题成为艺术。

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.