Within the carnal: re-reading Merleau-Ponty through the language of drawing

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dc.contributor.advisor Jansen, Julia en
dc.contributor.author Farrell, Helen
dc.date.accessioned 2016-01-08T09:49:19Z
dc.date.issued 2015
dc.date.submitted 2015
dc.identifier.citation Farrell, H. 2015. Within the carnal: re-reading Merleau-Ponty through the language of drawing. PhD Thesis, University College Cork. en
dc.identifier.uri http://hdl.handle.net/10468/2168
dc.description.abstract In order to present visual art as a paradigm for philosophy, Merleau-Ponty investigated the creative processes of artists whose work corresponded closely with his philosophical ideas. His essays on art are widely valued for emphasising process over product, and for challenging the primacy of the written word in all spheres of human expression. While it is clear that he initially favoured painting, Merleau-Ponty began to develop a much deeper understanding of the complexities of how art is made in his late work in parallel with his advancement of a new ontology. Although his ontology remains unfinished and only exists as working notes and a manuscript entitled The Visible and Invisible, Merleau-Ponty had begun to appreciate the fundamental role drawing plays in the making of art and the creation of a language of expression that is as vital as the written or spoken word. Through an examination of Merleau-Ponty’s unfinished manuscript and working notes my thesis will investigate his working methods and use of materials and also explore how he processed his ideas by using my own art practice as the basis of my research. This research will take the form of an inquiry into how the unfinished and incomplete nature of text and artworks, while they are still ‘works in progress’, can often reveal the more human and carnal components of creative processes. Applying my experience as a practitioner and a teacher in an art school, I focus on the significance of drawing practice for Merleau-Ponty’s later work, in order to rebalance an overemphasis on painting in the literature. Understanding the differences between these two art forms, and how they are taught, can offer an alternative engagement with Merleau-Ponty’s later work and his struggle to find a language to express his developing new ontology. In addition, by re-reading his work through the language of drawing, I believe we gain new insights which reaffirm Merleau-Ponty's relevance to contemporary art making and aesthetics. en
dc.description.sponsorship Irish Research Council (Postgraduate Scholarship Scheme) en
dc.format.mimetype application/pdf en
dc.language.iso en en
dc.publisher University College Cork en
dc.rights © 2015, Helen Farrell. en
dc.rights.uri http://creativecommons.org/licenses/by-nc-nd/3.0/ en
dc.subject Merleau-Ponty en
dc.subject Phenomenology en
dc.subject Drawing en
dc.subject Painting en
dc.subject Ontology en
dc.subject Visual art en
dc.title Within the carnal: re-reading Merleau-Ponty through the language of drawing en
dc.type Doctoral thesis en
dc.type.qualificationlevel Doctoral en
dc.type.qualificationname PhD (Arts) en
dc.internal.availability Full text not available en
dc.check.info Indefinite en
dc.check.date 10000-01-01
dc.description.version Accepted Version
dc.contributor.funder Irish Research Council en
dc.contributor.funder Cork City Council en
dc.description.status Not peer reviewed en
dc.internal.school Philosophy en
dc.check.reason This thesis contains third party copyrighted materials for which permission was not given for online use en
dc.check.opt-out Yes en
dc.thesis.opt-out true
dc.check.entireThesis Entire Thesis Restricted
dc.check.embargoformat E-thesis on CORA only en
dc.internal.conferring Spring Conferring 2016 en

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© 2015, Helen Farrell. Except where otherwise noted, this item's license is described as © 2015, Helen Farrell.
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