A Sense of Place

2019 ◽  
Vol 21 ◽  
pp. 277-288
Author(s):  
William D. Adams ◽  

Merleau-Ponty spent the summer of 1960 in the small French village of Le Tholonet writing Eye and Mind. His choice of location was no accident. Le Tholonet was the physical and emotional epicenter of Paul Cezanne’s late painting, the ultimate proving ground of his relentless quest to reveal the truth of landscape in art.It makes perfect sense that Merleau-Ponty wrote Eye and Mind in Le Tholonet. The essay is a philosophical meditation on vision and painting. But it also is a meditation on place, in the deeply saturated sense that encompasses the landscape, its natural and human history, and the history of the painter who brought this part of Provence to universal visibility in his art. Le Tholonet is the terroir of Eye and Mind, the site and soil of this final, extraordinary expression of Merleau-Ponty’s thinking. Merleau-Ponty passa l’été 1960 dans le petit village français de Le Tholonet en écrivant L’OEil et l’Esprit. Le choix de ce lieu n’est pas accidentel. Le Tholonet était l’épicentre physique et émotionnel de la dernière peinture de Paul Cézanne, le terrain d’essai final de sa quête incessante pour arriver à révéler la vérité du paysage dans l’art. C’est tout à fait sensé que Merleau-Ponty ait écrit L’OEil et l’Esprit à Le Tholonet. L’essai est une méditation philosophique sur la vision et sur la peinture. Mais c’est aussi une méditation sur le lieu, sur le sens profondément saturé qui entoure le paysage, sur son histoire naturelle et humaine, et sur l’histoire du peintre qui porta, par son art, ce coin de la Provence à la visibilité universelle. On pourrait alors dire que Le Tholonet est le terroir de L’OEil et l’Esprit, le site et le sol de cette expression finale et extraordinaire de la réflexion de Merleau-Ponty. Merleau-Ponty trascorse l’estate del 1960 nel piccolo villaggio francese di Le Tholonet, dedicandosi alla scrittura de L’occhio e lo spirito. La scelta di questo luogo non fu casuale. Le Tholonet fu infatti l’epicentro fisico ed emotivo della pittura dell’ultimo Cézanne, il campo di prova finale del suo tentativo instancabile di rivelare la verità del paesaggio nell’arte. È del tutto coerente che Merleau-Ponty abbia scritto L’occhio e lo spirito a Le Tholonet. Il saggio costituisce una riflessione filosofica sulla visione e sulla pittura, ma rappresenta anche una meditazione sul senso di un luogo, secondo un’accezione densa che comprende il paesaggio, la sua storia naturale e umana, e la storia del pittore che attraverso la sua arte ha portato questa parte della Provenza a una visibilità universale. Le Tholonet è il terroir de L’occhio e lo spirito, il sito che ospita e il terreno che nutre quest’ultima straordinaria espressione del pensiero di Merleau-Ponty.

Author(s):  
Jennifer Fay

`Siegfried Kracauer’s film and photographic theory along with cinematic records of early Antarctic exploration explain how this utterly inhospitable continent (Antarctica) and this media theory advance an alternative and denaturalized history of the present. Cinema has the capacity to reveal an earth outside of human feeling and utility without sacrificing the particularity that gets lost in scientific abstraction. And Antarctica, for so long outside of human history altogether, simply numbs feeling and refuses to yield to human purpose. It is also a continent on which celluloid encounters its signifying limits. Kracauer, this chapter argues, helps us to imagine an estranged and selfless relationship to an inhospitable or even posthospitable earth that may not accommodate us.


2014 ◽  
Vol 584-586 ◽  
pp. 713-716
Author(s):  
Xiao Jian Yu

South-Fujian is one of the most famous hometowns for overseas Chinese. Lu Cuo is the most significant landscape architecture of the South-Fujian. The development of Lu Cuo is a struggle history of South-Fujianese. Locating in the center of the city, Lu Cuo has faced the danger of being destroyed as many of valuable Cuo. This study investigated landscape features of Lu Cuo, including the arcade, dovetail roof ridge, red brick, and exquisite carvings. The results showed that Lu Cuo is the pluralistic coexistence with Chinese and Western architectural styles. Therefore, the study suggests that cultural vale and physical value are importance for preserving and managing Lu Cuo and its surrounding area.


2020 ◽  
Vol 2 (1) ◽  
pp. 66-71
Author(s):  
Sachpatzidis D. Avraam

New language produces new thought. creativity, critical thinking, educational achievement, empathy towards others, and ability to decipher technology. The gap between looking and seeing can be bridged with observing– the process of building a catalogue of visual elements, a very important argument in front of the so called “narrowness of the education system.” The science of perception and the history of image through the ideas of Eratosthenes, Copernicus, Descartes, Aristotle, Confucius and many others, is to create meaning. Language is, and always will be, the ultimate form of communication. A book of illustrations and not with illustrations, could make complex arguments through that medium that he couldn’t with words alone. Words have been considered for many centuries of the human history, the superior currency of intellect. So, educators don’t know where to start when it comes to teaching visual literacy. Photos without captions can make us look only at the photo, and make judgments and inferences by ourselves. Teaching graphic design alongside poetry, could show that design it’s more than just lines and illustration. It a sophisticated way to grasp the procedure from an idea to a picture. The sooner teachers can really abandon the Learning Styles Theory and not label students as “visual learners”, since we all learn visually, the sooner students will be empowered to become visually literate. Not all serious ideas require words, and many are better off without them. Visual communication deserves its place, and can also serve education.


Rhetorik ◽  
2019 ◽  
Vol 38 (1) ◽  
pp. 72-93
Author(s):  
Julia Enzinger

Abstract The present article investigates the literary representation of biographical and geological coherence in Max Frisch’s narrative Der Mensch erscheint im Holozän (1979), a story about a pensioner suffering from dementia, who has to cope with both the erosion of his memory as well as the geological erosion in the Swiss Alps. On the basis of Hayden White’s tropics of discourse and Stephen Jay Gould’s study on Myth and Metaphor in the Discovery of Geological Time, the rhetorical strategies being used by Frisch are examined in order to articulate the tension between human history and the history of nature and earth. Focusing on the two main tropes in the text, synecdoche and irony, the analysis will show how the text tries to escape forms of anthropomorphism – especially by generating a ›transhuman‹ perspective – but ultimately confesses its failure to do so. Holozän thus can be seen as an ironical (self-)reflection on the limits of rhetoric and language in terms of depicting non-human history.


Author(s):  
John Marenbon

This chapter investigates Augustine's role in addressing the Problem of Paganism. After the Sack of Rome in 410 CE, Augustine set out to produce his most ambitious work, a Christian rethinking, not just of the history of Rome, but of the relationship between God and the course of human history. Written in the safety of North Africa, the City of God (CG), begun probably in 412 but not finished until about fourteen years later, is both an intellectual masterpiece and a foundational book for the Problem of Paganism. Although the problem has somewhat different contours for him from those it would take on in the Middle Ages, in the City of God and other works Augustine looks closely at three of the main strands of the problem — wisdom, salvation, and virtue — and takes positions which set the agenda for almost all subsequent discussion.


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