Parhomenko, EduardVaha, VivianTartu Ülikool. Humanitaarteaduste ja kunstide valdkondTartu Ülikool. Filosoofia osakond2022-09-142022-09-142022http://hdl.handle.net/10062/84051This bachelor`s thesis examines the comparability and similarity of the world views of two creators: the philosopher Merleau-Ponty and the painter Paul Cézanne. This analysis endeavours to demonstrate how phenomenologists as Merleau-Ponty and painters such as Cézanne have the same aim: to capture our being-in-the-world and disclose the deepest structure of reality. Their mission seems to disclose the Being and the Life in the invisible environment. Important place here is given to Merleau-Ponty`s art philosophy. According to him, the endeavour to depict the genuine perception of the world is a goal of both art and philosophy. Under special scrutiny are the questions concerning colours and their perception in the phenomenological perspective. We must acknowledge that the body is at the heart of Merleau-Ponty`s philosophy. The body reveals itself as our very way of being in the phenomenal field. Merleau-Ponty claims there is no ontological separation between the experiencing “I“ and the body as one lives it. Indeed, the lived body is one`s intentional opening to the world, through which alone one experiences meaningful things in the first place. Merleau-Ponty`s later writings no longer focus on the body as such, he will analyse levels deeper than the body, for example, “the flesh of the world“. According to Merleau-Ponty, the world is manifest in experience in accordance with our bodily structure and skills. And expression is not the intentional activity of disembodied minds, rather, the body (later, the flesh of the world) is the medium of expression. It seems that Merleau-Ponty, the phenomenologist, was gripped by the self-same ambition he attributed to Cézanne: to confront people with the nature from which they came and to offer us an opportunity to draw closer “to the things themselves“.Käesoleva bakalaureusetöö peamiseks eesmärgiks on näidata, kuidas Merleau-Ponty ja prantsuse maalikunstniku Cézanne`i maailmanägemised tuumküsimustes ühtivad. Soovivad nad ju mõlemad näidata, et Eluilmal on talle omane tähendus ja struktuur, mille olemasolu argiteadvusel on raske hoomata. Nad mõlemad olid silmatorkavas kontrastis oma valdkonna traditsioonilisemate arusaamadega. Merleau-Ponty astus oma fenomenoloogiaga vastu levinud kalduvusele näha teaduslikke konstruktsioone ja teaduslikku maailmavaadet ontoloogilist reaalsust esindamas. Ta oli veendunud, et seda maailma, milles me elame, ei saa vähendada mingiteks objektiivseteks muutujateks ja talitluslikeks suheteks nagu loodusteadused seda näitavad. Kõige olulisem on Merleau-Ponty tahe näidata, et keha on see, mis aitab meil saavutada tõest teadmist. Ta on seisukohal, et keha pigem on igasuguseks vaimseks tegevuseks hädavajalik, olles selleks nii eeldus kui abinõu. Võime väita, et Merleau-Ponty fenomenoloogia keskseks avastuseks on motoorne intentsionaalsus, mis ütleb, et taju terviklikkuse saavutamine ei ole üksnes tunnetuslik, vaid see on ka keha liikumise tulemus. Keha ei ole ruumis neutraalselt, vaid asustab ja elustab seda.estopenAccessAttribution-NonCommercial-NoDerivatives 4.0 Internationalphilosophyphilosophy of artbakalaureusetöödkunstifilosoofiafilosoofiaThesis