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

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dc.check.date10000-01-01
dc.check.embargoformatE-thesis on CORA onlyen
dc.check.entireThesisEntire Thesis Restricted
dc.check.infoIndefiniteen
dc.check.opt-outYesen
dc.check.reasonThis thesis contains third party copyrighted materials for which permission was not given for online useen
dc.contributor.advisorJansen, Juliaen
dc.contributor.authorFarrell, Helen
dc.contributor.funderIrish Research Councilen
dc.contributor.funderCork City Councilen
dc.date.accessioned2016-01-08T09:49:19Z
dc.date.issued2015
dc.date.submitted2015
dc.description.abstractIn 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.sponsorshipIrish Research Council (Postgraduate Scholarship Scheme)en
dc.description.statusNot peer revieweden
dc.description.versionAccepted Version
dc.format.mimetypeapplication/pdfen
dc.identifier.citationFarrell, H. 2015. Within the carnal: re-reading Merleau-Ponty through the language of drawing. PhD Thesis, University College Cork.en
dc.identifier.urihttps://hdl.handle.net/10468/2168
dc.language.isoenen
dc.publisherUniversity College Corken
dc.rights© 2015, Helen Farrell.en
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/en
dc.subjectMerleau-Pontyen
dc.subjectPhenomenologyen
dc.subjectDrawingen
dc.subjectPaintingen
dc.subjectOntologyen
dc.subjectVisual arten
dc.thesis.opt-outtrue
dc.titleWithin the carnal: re-reading Merleau-Ponty through the language of drawingen
dc.typeDoctoral thesisen
dc.type.qualificationlevelDoctoralen
dc.type.qualificationnamePhD (Arts)en
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