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161. Chiasmi International: Volume > 20
Maurice Merleau-Ponty Kurt Goldstein, La structure de l’organisme
162. Chiasmi International: Volume > 20
Maurice Merleau-Ponty Collana Les Temps Modernes diretta da Maurice Merleau-Ponty e Jean-Paul Sartre
163. Chiasmi International: Volume > 20
Maurice Merleau-Ponty Le avventure della dialettica
164. Chiasmi International: Volume > 20
Maurice Merleau-Ponty Segni
165. Chiasmi International: Volume > 20
Maurice Merleau-Ponty Elogio della filosofia
166. Chiasmi International: Volume > 20
Maurice Merleau-Ponty Intervento a proposito di “Commentaire sur l’idée de la phénoménologie” de A. De Waelhens
167. Chiasmi International: Volume > 20
Maurice Merleau-Ponty Intervento a proposito di “La phénoménologie contre The Concept of Mind” di G. Ryle
168. Chiasmi International: Volume > 20
Maurice Merleau-Ponty Una lettera di Maurice Merleau-Ponty a Jacques Garelli
169. Chiasmi International: Volume > 20
Maurice Merleau-Ponty Una lettera di Maurice Merleau-Ponty a Éric Weil
170. Chiasmi International: Volume > 20
Maurice Merleau-Ponty Lettere di Maurice Merleau-Ponty ad Alphonse De Waelhens, 1946-1961
171. Chiasmi International: Volume > 20
Maurice Merleau-Ponty Una lettera di Maurice Merleau-Ponty a Simone De Beauvoir
172. Chiasmi International: Volume > 21
Galen A. Johnson Presentazione
173. Chiasmi International: Volume > 21
Lovisa Andén, Franck Robert Introduzione: Le problème de la parole, estratto della lezione del 25 febbraio 1954. Proust e la letteratura
174. Chiasmi International: Volume > 21
Maurice Merleau-Ponty, Claudio Rozzoni Estratto. Proust. Una teoria, – e una pratica concordante, – del linguaggio
175. Chiasmi International: Volume > 21
Galen A. Johnson Introduzione: Su letteratura e verità
176. Chiasmi International: Volume > 21
Federico Leoni Proust e la biologia. È possibile una letteratura di fantasmi?
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This article examines the place of literature in the ensemble of Merleau-Ponty’s research, comparing the function it fills in the economy of his thought to the role other practices and other disciplines such as biology and psychology play in his philosophy. Each of these “discourses” offered Merleau-Ponty access to something comparable to a common phantasmatic substance, a common metaphorical stability of Being, that the biologist, the writer, and the psychoanalyst work on, each in their own writings and categories. But here emerges also a major question. To what extent does the language of Proust reveal itself up to the task of writing the phantasm, to what extent does it respond to this challenge? In what manner are the limits of his language, which are perhaps the limits of language itself, an obstacle to his project? And what is it that permits, at times, the sciences to obtain greater success in engaging in this way? Was it precisely the structure of metaphor that hindered Proust in truly writing encroachment, and the dimension of metonymy was, on the contrary, that in which a certain scientific discourse succeeded at setting itself up on the first try? If, finally and especially, metonymy was the very heart of metaphor, with more or less success touched by one or the other of the “regional” writings of the phantasm?
177. Chiasmi International: Volume > 21
Giuseppe Crivella Le sensible est introuvable... Merleau-Ponty e il linguaggio: da La prose du monde alle Cinq notes sur Claude Simon
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The purpose of this paper is to study the role of language in the philosophy of Merleau-Ponty. In particular, our analysis will concentrate mainly on The Prose of the World and, following that, on the notes about the novels of Claude Simon. Thus, we will attempt to discern the specific nature of such language, analyzing its sources, exploring its limits, and examining in detail its potentialities.
178. Chiasmi International: Volume > 21
Gianluca Solla Entrando al cinema. Il ritmo come segreto del mondo
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In the text of his lecture on “Film and the new psychology,” Merleau-Ponty introduces a singular and decisive reading of filmic art, approaching the notion of “rhythm.” This notion engages in a reflection on image and on the relation between the image and the gaze of the spectator at the cinema. In this article, Merleau-Ponty’s actual usage of this notion and the meaning of this operation will be read starting from the reflection of Émile Benveniste on rhythm as well as certain notes presented in Merleau-Ponty’s courses at the Collège de France on The sensible world and the world of expression and Research on the literary usages of language, that follow some years after the lecture.
179. Chiasmi International: Volume > 21
Ann V. Murphy Introduzione: Il significato del luogo