scholarly journals From ‘the mind isolated with the body’ to ‘the mind being embodied’: Contemporary approaches to the philosophy of the body

2020 ◽  
Vol 3 (3) ◽  
pp. 206-219
Author(s):  
Duoyi Fei
Keyword(s):  
Modern Philosophy ◽  
Detailed Analysis ◽  
Human Nature ◽  
20Th Century ◽  
The Body ◽  
Human Society ◽  
Pure Consciousness ◽  
The World ◽  
Value Judgements ◽  
The Mind

In the interpretation of the body in the 20th century, philosophy placed less emphasis than before on its natural composition and sought to integrate value judgements from different perspectives. The philosophy of the body addresses the deepest essential problems of human society and culture, it generates a uniquely detailed analysis of human nature and its various roles and performances in social operations, and it reveals contemporary society’s operating mechanisms and deep internal contradictions. Accordingly, philosophy no longer gives the mind any priority or superiority in terms of cognition, and the focus of research has moved away from pure consciousness and towards the body. Contemporary philosophical exploration of the body covers both the concept of belongingness and the feasibility of bodily freedom. It not only foregrounds the impossibility of viewing the body and the mind as separate entities but also leads us to examine the connections between humans and the world, taking meaning, reason and the body as their basis. This paper explores the connections between body and thought in modern philosophy, traces the development of philosophy’s increasing concern with the body, elucidates the main contributions of representative figures in the field of philosophy of the body, and analyses the methodological significance and influence of the philosophy of the body as a contemporary philosophical trend.

Differenzierungen im Begriff, Gegenwart‘ bei Husserl und Merleau-Ponty

2017 ◽  
Vol 2017 (1) ◽  
pp. 39-54
Author(s):  
Jörg Zimmer
Keyword(s):  
Modern Philosophy ◽  
The Body ◽  
Fundamental Concept ◽  
Phenomenological Description ◽  
Philosophy Of Time ◽  
Phenomenology Of Perception ◽  
The World ◽  
Classical Philosophy ◽  
The Moment ◽  
Empty Time

In classical philosophy of time, present time mainly has been considered in its fleetingness: it is transition, in the Platonic meaning of the sudden or in the Aristotelian sense of discreet moment and isolated intensity that escapes possible perception. Through the idea of subjective constitution of time, Husserl’s phenomenology tries to spread the moment. He transcends the idea of linear and empty time in modern philosophy. Phenomenological description of time experience analyses the filled character of the moment that can be detained in the performance of consciousness. As a consequence of the temporality of consciousness, he nevertheless remains in the temporal conception of presence. The phenomenology of Merleau-Ponty, however, is able to grasp the spacial meaning of presence. In his perspective of a phenomenology of perception, presence can be understood as a space surrounding the body, as a field of present things given in perception. Merleau-Ponty recovers the ancient sense of ‘praesentia’ as a fundamental concept of being in the world.

scholarly journals Ways of Seeing Christ the Judge: The Iconography of Christ III and its Visual Context

Neophilologus ◽  
2021 ◽  
Author(s):  
Natalie Jones
Keyword(s):  
Detailed Analysis ◽  
Visual Imagery ◽  
Careful Analysis ◽  
Visual Images ◽  
Detailed Knowledge ◽  
Visual Context ◽  
Notable Feature ◽  
The World ◽  
Dual Perspective ◽  
The Mind

AbstractThis article examines the iconographic programme of the Last Judgement scene depicted in Christ III. A notable feature of the poem’s detailed visual programme is the way in which it provides the audience with a single, panoramic vision that encompasses the divergent perspectives of the blessed and the damned. It is on account of this dual perspective that the poem, through its precise use of language and imagery, presents the audience with a bifocal vision of Christ as King of Kings and Judge of the World, in keeping with the words of Revelation 19:16. A detailed analysis of the poem’s imagery, however, suggests that its portrait of Christ as Judge is not only informed by scripture and exegetical sources, but is also indebted to contemporary visual imagery, particularly the depiction of Christ as Majestas Domini, or Christ in Majesty. As a result, and by approaching the poem’s imagery from an iconological perspective, it is argued that the poet of Christ III had a detailed knowledge of contemporary Christological motifs. Furthermore, a careful analysis of the language used to describe the Judgement scene, and particularly the depiction of Christ as Judge, suggests that the poet intentionally seeks to evoke a range of specific visual images in the mind of his audience in order to amplify the poem’s instructive and penitential aims.

scholarly journals Re-engaging the spirit: engaging traditional Anishinabek healing beliefs into an architecture for addiction wellbeing centres

2021 ◽  
Author(s):  
Madison Dozzi-Perry
Keyword(s):  
Addiction Treatment ◽  
The Body ◽  
Spiritual Awareness ◽  
Cold Environments ◽  
Design Practices ◽  
The World ◽  
Current Design ◽  
Treatment Facilities ◽  
The Mind ◽  
Western Perspective

Current design practices for addiction treatment facilities reflect that of the western perspective on health, providing sterile, monolithic and cold environments. The quest for cleanliness, static and conditioned spaces robs the user of the richness of an engaging experience, isolating them into a sealed box. We further numb and anesthetize patients, disembodying them from the world and hindering their abilities to achieve physical, mental, emotional and spiritual awareness. This disengagement of the natural, human and spiritual realms proliferates the problems facing people with addiction. This thesis proposes an engagement of Anishinabek healing and wellbeing principles to inform the design of addiction healing spaces that stimulate the users, re-engages and enhances one’s awareness and understanding of one’s self, other beings and place in the world. By incorporating these principles into design, architecture can begin to re-engage the mind, the body, the heart and the soul of people suffering from addiction wellbeing issues.

Ecopedagogy and Education

2021 ◽  
Author(s):  
Ruyu Hung
Keyword(s):  
Human Nature ◽  
20Th Century ◽  
Environmental Issues ◽  
Ecological Approach ◽  
Late 20Th Century ◽  
The World ◽  
Fundamental Understanding ◽  
Basic Ideas ◽  
Ecological Worldview

The neologism ecopedagogy was coined in the late 20th century to represent the joining of ecology and pedagogy. However, ecopedagogy is not an education about ecology but an education through ecology, meaning that it is an education based on an ecological worldview. A worldview is the fundamental understanding of life and the world. Ecological worldview means the ecological approach to the understanding of life and the world. The basic ideas of the ecological worldview come from the science of ecology, of which there are two interpretations: ecology of stability and ecology of instability. Both provide a general, shared outline of the world and how it works but each offers distinctive values of philosophy, ethics, culture, and society with regard to the ecosystem. Ecopedagogy, which encompasses both ecological worldview and education, develops into two broad movements: philosophical ecopedagogy and critical ecopedagogy. For the former, referred to as ecosophy, focuses on the metaphysical investigation of the human-nature relationship and related issues in education. For the latter, ecojustice, the mission is to critique the injustice and oppression involved in environmental issues and to construct a utopian society of planetary civilization.

ELOQUENT ACTION: THE BODY AND MEANING IN EARLY COMMEDIA DELL'ARTE

2009 ◽  
Vol 50 (2) ◽  
pp. 251-315 ◽  
Author(s):  
Matthew Buckley
Keyword(s):  
Facial Expression ◽  
Human Nature ◽  
External Action ◽  
The Body ◽  
Whole Body ◽  
Commedia Dell'arte ◽  
General Terms ◽  
The World ◽  
The Many ◽  
Common Character

One of the things that strikes one most forcibly in surviving images of early commedia dell'arte is its enigmatic physicality, the manner in which its actors everywhere adopt postures and make gestures that seem not merely emphatic and exaggerated but almost hieroglyphic, full of some additional implication, laden with a figural and emblematic resonance that we sense but no longer see. In general terms, this quality is easily understood, as the body clearly served in commedia as a complex and polyvalent instrument of expression. Its gestures and movements were, as in all theatre, indexically linked to dramatic action, and they also served, as in much masked drama, as surrogates for the facial expression of affect, in that the movements and aspects of the whole body were enlisted to articulate the motions and mien of a veiled face and to overcome or play upon the sensation of estranged speech produced by the half-mask's bifurcation of the visage. Moreover, in a manner less familiar but illustrated well in Fig. 1, these movements and aspects also functioned as expressions in their own right, not articulating the affect or expression attendant upon immediate speech or situation or delineating the lines of external action but signaling the many impulses and various appetites of the world, the varied aspects of all persons and of the body itself, and invoking at times as their implicatory context human nature, common character, and identity rather than situation, attitude, or emotion.

scholarly journals Re-engaging the spirit: engaging traditional Anishinabek healing beliefs into an architecture for addiction wellbeing centres

2021 ◽  
Author(s):  
Madison Dozzi-Perry
Keyword(s):  
Addiction Treatment ◽  
The Body ◽  
Spiritual Awareness ◽  
Cold Environments ◽  
Design Practices ◽  
The World ◽  
Current Design ◽  
Treatment Facilities ◽  
The Mind ◽  
Western Perspective

Current design practices for addiction treatment facilities reflect that of the western perspective on health, providing sterile, monolithic and cold environments. The quest for cleanliness, static and conditioned spaces robs the user of the richness of an engaging experience, isolating them into a sealed box. We further numb and anesthetize patients, disembodying them from the world and hindering their abilities to achieve physical, mental, emotional and spiritual awareness. This disengagement of the natural, human and spiritual realms proliferates the problems facing people with addiction. This thesis proposes an engagement of Anishinabek healing and wellbeing principles to inform the design of addiction healing spaces that stimulate the users, re-engages and enhances one’s awareness and understanding of one’s self, other beings and place in the world. By incorporating these principles into design, architecture can begin to re-engage the mind, the body, the heart and the soul of people suffering from addiction wellbeing issues.

scholarly journals The Thinking Body: a Study of the Architectural Ramifications of Maurice Merleau-Ponty's Rendering of the Human Body's Capacities

2021 ◽  
Author(s):  
◽  
Karan August
Keyword(s):  
Human Body ◽  
Subjective Experience ◽  
Human Experience ◽  
The Body ◽  
Critical Approach ◽  
Spatial Practices ◽  
Sensory Experiences ◽  
Phenomenological Experience ◽  
The World ◽  
The Mind

<p>Phenomenology offers a conceptual framework that connects and strengthens the architect' s intuitive understanding of the human experience of space with the theorist's more critical approach. Phenomenology is an ideal vehicle for architectural theorists to avoid the friction between first-hand or subjective experience and generalised or abstracted accounts of experience. In this thesis I extract an account of the human experience of space that is implicit in the Philosopher Maurice Merleau-Pontys work. I consider how this understanding has been employed in architectural scholarship and practice. In particular, I argue that the human body renders the richness of space through deliberate engagement with the indeterminate and independent possibilities of the world. In other words, as the body intentionally engages with the world, it synthesises objects that create determinate spatial situations. I account for Merleau-Ponty's depiction of the body' s non-rule governed, non-reflective, normative directiveness towards spaces and elements, and label it the thinking body. Furthermore I examine how the philosophical theory of Merleau-Ponty is represented in the explicitly theoretical works of Juhani Pallasmaa. In turn I then consider how the thinking body is physically and conceptually realised in the buildings of Carlo Scarpa. Finally I find that Juhani Pallasmaa's description of the phenomenological experience of space is incompatible with Merleau-Ponty's. The strategic importance of these different accounts emerges when projecting their implications for designed space. Pallasmaa' s account points towards an architecture that prioritises sensory experiences synthesised by the mind. The design focus of Merleau-Ponty's philosophy leads to spatial practices in line with Carlo Scarpa, that are sympathetic to the causal qualities of an intentional bodily engagement with spatial situations. In accord with Merleau-Ponty I argue that human body is our medium for the world and as such creates the spatial situation we engage with from a formless manifold of possibilities.</p>

Posthumanism

2018 ◽  
Author(s):  
Diane Marie Keeling ◽  
Marguerite Nguyen Lehman
Keyword(s):  
Human Subject ◽  
Quantum Physics ◽  
The Body ◽  
Western Philosophy ◽  
Philosophical Perspective ◽  
Renaissance Humanism ◽  
Dynamic Forces ◽  
The World ◽  
The Mind ◽  
Scholarly Attention

Posthumanism is a philosophical perspective of how change is enacted in the world. As a conceptualization and historicization of both agency and the “human,” it is different from those conceived through humanism. Whereas a humanist perspective frequently assumes the human is autonomous, conscious, intentional, and exceptional in acts of change, a posthumanist perspective assumes agency is distributed through dynamic forces of which the human participates but does not completely intend or control. Posthumanist philosophy constitutes the human as: (a) physically, chemically, and biologically enmeshed and dependent on the environment; (b) moved to action through interactions that generate affects, habits, and reason; and (c) possessing no attribute that is uniquely human but is instead made up of a larger evolving ecosystem. There is little consensus in posthumanist scholarship about the degree to which a conscious human subject can actively create change, but the human does participate in change. As distinguished from posthumanism, humanism is credited with attributing the conscious and intentional human subject as the dominant source of agency most worthy of scholarly attention. Since its inception during the Renaissance, humanism has been constituted in various ways throughout history, but as a collective body of literature, the human is typically constituted through humanism as: (a) autonomous from nature given the intellectual faculties of the mind that controls the body, (b) uniquely capable of and motivated by speech and reason, and (c) an exceptional animal that is superior to other creatures. Humanist assumptions concerning the human are infused throughout Western philosophy and reinforce a nature/culture dualism where human culture is distinct from nature. In contrast, a posthumanist scholar rejects this dichotomy through understanding the human as entangled with its environment. A posthumanist scholar of communication typically integrates scholarship from a variety of other disciplines including, but not limited to: art, architecture, cybernetics, ecology, ethology, geology, music, psychoanalysis, and quantum physics.

Sign in / Sign up

Export Citation Format

Share Document