Introduction

2017 ◽  
Author(s):  
Mark Franko
Keyword(s):  
Twentieth Century ◽  
Modern Dance ◽  
Paul Ricoeur ◽  
Historical Knowledge ◽  
Paul Ricœur ◽  
Per Se ◽  
And Performance ◽  
The Way

The Introduction to this handbook covers the broad themes and positions of the chapters without engaging specifically with the argument of any one chapter. It begins with a discussion of an early example of reenactment in dance, that of Susanne Linke’s work on Dore Hoyer’s Affectos Humanos in 1988. It analyzes the significance of Hoyer’s identity in German modern dance of the mid-twentieth century to the emergence of reenactment per se. The author theorizes reenactment as a practice of “asymmetrical historical temporalities” and develops the distinction between historicity and temporality. There is a difference between the way reenactment is handled in discourse on art and performance and in dance. Drawing upon the work of François Hartog and Paul Ricoeur, the Introduction concludes with a discussion of regimes of historicity and Ricoeurs’s concept of document as trace, and debates the idea that reenactment in dance is a form of historical knowledge.

Los criterios de textualidad en la hermenéutica de Paul Ricoeur. Un análisis crítico

2008 ◽  
Vol 14 ◽  
Author(s):  
Adrián Bertorello
Keyword(s):  
Structural Analysis ◽  
Reading Strategies ◽  
Paul Ricoeur ◽  
Material Base ◽  
The World ◽  
Paul Ricœur ◽  
Text Writing ◽  
The Way

RESUMENEl trabajo examina críticamente la afirmación central de la hermenéutica de Paul Ricoeur, a saber, que el soporte material de la escritura es el rasgo determinante para que una secuencia discursiva sea considerada como un texto. La escritura cancela las condiciones fácticas de la enunciación y crea, de este modo, un ámbito de sentido estable en el que se puede validar una concepción de la subjetividad que está implicada en las dos estrategias de lecturas (el análisis estructural y la apropiación), esto es, un sujeto pasivo que se constituye por la idealidad del significado. Asimismo, el trabajo intentará precisar una serie de ambigüedades en el uso que Ricoeur hace del «ser en el mundo» para sostener la referencialidad del discurso.PALABRAS CLAVETEXTO, ESCRITURA, REFERENCIA, SUBJETIVIDAD, MUNDOABSTRACTThis paper critically examines the main assertion of Paul Ricoeur´s hermeneutics, i.e., that the material base of writing is the determining feature to consider a discursive sequence as a text. Writing cancels the factual conditions of enunciation and creates, in this way, a background of stable meaning where it is possible to validate a conception of subjectivity implicated in the two reading strategies (the structural analysis and the appropriation), i.e., a passive subject constituted by the ideality of meaning. Likewise, this paper aims to clarify some ambiguities in the way Ricoeur uses the «beings in the world» to support the discourse referentiality.KEY WORDSTEXT, WRITING, REFERENCE, SUBJECTIVITY, WORLD

Time

2021 ◽  
pp. 163-179
Author(s):  
Jesse Matz
Keyword(s):  
Mikhail Bakhtin ◽  
Paul Ricoeur ◽  
Reciprocal Relationship ◽  
Henri Bergson ◽  
Subjective Time ◽  
Phenomenological Hermeneutics ◽  
Paul Ricœur ◽  
The Mind ◽  
The Way

Orlando and other texts express Woolf’s interest in subjective ‘time in the mind’, an interest she shared with other modernists who challenged chronological norms, but Woolf explored other forms of time as well. Some align her work with the theories of Henri Bergson, Mikhail Bakhtin, and Mary Sturt, and this variety—the way Woolf developed forms of time across her career as a writer—tracks with the phenomenological hermeneutics of Paul Ricoeur. His Time and Narrative explains the dialectical pattern according to which Woolf perpetually found new ways for time and narrative to shape each other, culminating in novels that thematize this reciprocal relationship between the art of narrative and possibilities for temporal engagement. Woolf’s early fiction breaks with linear chronology, starting a series of virtuoso performances of temporal poiesis.

scholarly journals Social imagination, abused memory, and the political place of history in Memory, History, Forgetting

2014 ◽  
Vol 5 (2) ◽  
pp. 35-47 ◽  
Author(s):  
Esteban Lythgoe
Keyword(s):  
Paul Ricoeur ◽  
The Political ◽  
Social Imagination ◽  
Cognitive Dimension ◽  
Paul Ricœur ◽  
Artificial Memory ◽  
The Way

AbstractIn this paper we intend to show that in Memory, History, Forgetting, Paul Ricœur articulates memory and history through imagination. This philosopher distinguishes two main functions of imagination: a poetical one, associated with interpretation and discourse, and a practical and projective one that clarifies and guides our actions. In Memory, History, Forgetting, both functions of imagination are present, but are associated with different aspects of memory. The first one is present especially in the phenomenology of the cognitive dimension of memory; the second one is developed in the analysis of the abuses of artificial memory, while their convergence is described in the section on the abuses of natural memory. Besides the similarities in the way these functions of imagination operate in Oneself as Another and in Memory, History, Forgetting, we will show some important differences between these two works and we will propose reasons for these differences.Keywords: Poetical Imagination, Practical Imagination, Abused Memory, Ideology, Utopy.RésuméDans cet article nous souhaiterions montrer que, dans La mémoire, l’histoire, l’oubli, l’imagination productrice est ce qui permet d’articuler la mémoire et l´histoire. Ricœur distingue deux principales fonctions de l’imagination: l’une, poétique, associée à l’interprétation et au discours ; l’autre pratique et projective, qui éclaire et oriente nos actions. Dans La mémoire, l’histoire, l’oubli, ces deux fonctions de l’imagination sont présentes mais elles sont associées à des aspects différents de la mémoire. La première est surtout présente dans la phénoménologie de la dimension cognitive de la mémoire, la seconde apparaît dans l’analyse des abus de la mémoire artificielle, et l’articulation entre ces deux fonctions se trouve enfin décrite dans la section concernant l’abus de la mémoire naturelle. Outre les similitudes dans la façon dont ces fonctions de l’imagination opèrent dans Soi-même comme un autre et dans La mémoire, l’histoire, l’oubli, nous essaierons de montrer qu’il existe cependant certaines différences importantes entre ces deux œuvres en tentant d’en expliciter les raisons.Mots-clés: Imagination poétique, imagination pratique, mémoire abusée, idéologie, utopie.

scholarly journals A função revelante da arquitetura religiosa moderna em São Paulo: o concreto aparente dos templos religiosos e sua simbólica do Sagrado

2019 ◽  
Vol 19 (1) ◽  
pp. 25-41
Author(s):  
Célia Maria Ribeiro ◽  
Donizete José Xavier
Keyword(s):  
Paul Ricoeur ◽  
Sao Paulo ◽  
São Paulo ◽  
Paul Ricœur ◽  
Per Se

O presente artigo tem por objetivo desenvolver, a partir da hermenêutica da arte de Paul Ricoeur, um diálogo fecundo com a arquitetura religiosa moderna questionando sobre a sua função revelante em relação ao Sagrado. O concreto aparente, chamado de arte brutalista, ganha aqui total significação. Aspectos poéticos e metafóricos constituem a sua simbólica, então, atestamos que o concreto aparente é, per se, um espaço poético-simbólico. Assim, ressalta-se que o equilíbrio sutil das virtualidades iconoclastas desses templos modernos e as ressurgências simbólicas do Sagrado seguem a orquestração da função revelante da arquitetura religiosa moderna em São Paulo.

After Of Habit

2019 ◽  
pp. 62-94
Author(s):  
Mark Sinclair
Keyword(s):  
Twentieth Century ◽  
Paul Ricoeur ◽  
Henri Bergson ◽  
Lived Body ◽  
French Philosophy ◽  
The Third ◽  
Paul Ricœur ◽  
Embodied Action

This chapter examines the reception of Ravaisson’s account of habit in later nineteenth- and twentieth-century French philosophy. The first two sections examine its reception in the work of Albert Lemoine, Léon Dumont, and Henri Bergson. The third section examines its reception in the work of the French phenomenologists and theorists of the lived body, Maurice Merleau-Ponty and Paul Ricoeur. The chapter shows how Ravaisson’s account of inclination relates to these notions of the lived body. In conclusion, it shows how contemporary Merleau-Ponty-inspired accounts of pre-reflective, embodied action as a form of ‘coping’ can be extended by Ravaisson’s concern for tendency and inclination in motor habit.

scholarly journals Ricoeur's theory of narrative time and one hundred years of solitude

1969 ◽  
Vol 5 (9) ◽  
pp. 173-182
Author(s):  
Luis Gustavo Álvarez Martínez
Keyword(s):  
Twentieth Century ◽  
Narrative Theory ◽  
Gabriel Garcia Marquez ◽  
Paul Ricoeur ◽  
Twentieth Century Literature ◽  
Future Time ◽  
Cyclical Time ◽  
Paul Ricœur ◽  
Narrative Time ◽  
Century Literature

Paul Ricoeur´s narrative theory of time proposes that we, during our reading, move backwards and forward in narrative time and that “temporality springs forth in the plural unity of future, past and present” (167) . In utilizing his theory of time and the idea of cyclical time as a prominent characteristic in twentieth century literature, I attempt to apply his intriguing theory to an exemplary novel, One Hundred Years of Solitude (1967) by the Colombian Gabriel García Márquez. The essay demonstrates how the circularity of the imaginary travel and the linearity of the quest as such are thus put together. Indeed, time is circular and recurrent rather than rectilinear and progressive in this novel wherein readers are moved between present, past and future time.

scholarly journals CERPEN “REMBULAN DI DASAR KOLAM” KARYA DANARTO DALAM HERMENEUTIK PAUL RICOEUR

2010 ◽  
Vol 9 (2) ◽  
pp. 378
Author(s):  
Yulia Nasrul Latifi
Keyword(s):  
Gender Role ◽  
Social Status ◽  
Paul Ricoeur ◽  
The Other ◽  
The Moon ◽  
Paul Ricœur ◽  
The Way

Danarto’s Rembulan di Dasar Kolam (The Moon Beneath the Pond) tells about a wife’s sacrifice in an unfortunate situation. The wife, is an unfortunate woman whose husband cheats and treats her disrespectfully. Yet, her spirituality endures her in such situation. Paul Ricoeur’s hermeneutics theory proposes the hypothesis that the analysis of symbol is a guide to the analysis of text, and the other way around. Both must be submitted to a process of metamorphosis or dialectical phenomena. The result of this analysis is the emergence of symbolical meaning in various terms. Rabi’ah becomes a symbol of a wife’s strength. Her wisdom and personality give the way out to her household problems. Her social status as well as gender role is the symbol that religiosity belongs to anyone despite one’s social status. From this character, it can be seen that the knowledge of spiritualism is aimed not only vertically (to God) but also horizontally (to humanity). The title Rembulan or the Moon symbolizes the wife, because, despite her condition- symbolized as the pond-she endures and still gives her shine, like the moon.

scholarly journals Aesthetic Experience, Mimesis and Testimony

2012 ◽  
Vol 3 (1) ◽  
pp. 172-193 ◽  
Author(s):  
Roger W. H. Savage
Keyword(s):  
Aesthetic Experience ◽  
Paul Ricoeur ◽  
Work Of Art ◽  
The Real ◽  
Paul Ricœur ◽  
Music Literature ◽  
Definition Of ◽  
The Way

In this article, I relate the demand that Paul Ricoeur suggests mimesis places on the way we think about truth to the idea that the work of art is a model for thinking about testimony. By attributing a work’s epoché of reality to the work of imagination, I resolve the impasse that arises from attributing music, literature, and art’s distance from the real to their social emancipation. Examining the conjunction, in aesthetic experience, of the communicability and the exemplarity of a work reveals how Ricoeur’s definition of mimesis as refiguration relates to the “rule” that the work summons. This “rule” constitutes the solution to a problem or question for which the work is the answer. In conclusion, as a model for thinking about testimony, the claims that works make have a counterpart in the injunctions that issue from exemplary moral and political acts. 

scholarly journals Paul Ricœur’s Hermeneutics of the Beauty of Unpredictability

1970 ◽  
Vol 22 (2) ◽  
pp. 119-126
Author(s):  
Andrzej Wiercinski
Keyword(s):  
Paul Ricoeur ◽  
Great Pleasure ◽  
Life Project ◽  
Paul Ricœur ◽  
Psychotherapy And Religion ◽  
The Way

Thinking with Paul Ricœur is a great pleasure and an even greater challenge. The more we seem to understand his life project, the more perplexed we are when facing the inescapability of the incompleteness, incomprehensibility, and impenetrability of what calls for thinking. Ricœur remains a faithful companion on the way to understanding oneself and reaching the inaccessible, despite the unprecedented progress of psychology, psychoanalysis, psychotherapy, and religion.

scholarly journals Sur la soumission au pouvoir. Convergences et differences entre le Discours de la servitude volontaire d’Etienne de La Boétie et la pensée politique de Paul Ricœur

2017 ◽  
Vol 8 (1) ◽  
pp. 122-139
Author(s):  
Pierre-Olivier Monteil
Keyword(s):  
Political Thought ◽  
Political Process ◽  
Paul Ricoeur ◽  
The State ◽  
The Political ◽  
Central Concept ◽  
The People ◽  
Paul Ricœur ◽  
The Will ◽  
The Way

This study undertakes a reading of Etienne de La Boétie’s Discours de la servitude volontaire, endeavoring to bring to light the way it convergences with and diverges from the political thought of Paul Ricœur, around the central concept of the will. On the basis of the twin notions of “denaturation” and of “pathology,” a course unfolds which aims at helping establish the people, in comparison with the institution of the State, through a political process revitalised by friendship. But the two thinkers differ when it comes to the resources of the will. This is reflected in the notion of freedom, conceived as absolute in La Boetie, while Ricœur emphasizes its contingency, which leads him to thematize it in terms of capabilities.

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