O retorno ao mundo percebido: Merleau-Ponty e Cézanne

• Ano de defesa: 2018
• Autor(a) principal: Retameiro, Bruna Barbosa
• Orientador(a): Silva, Claudinei Aparecido de Freitas da
• Banca de defesa: Silva, Claudinei Aparecido de Freitas da , Falabretti, Ericson Sávio , Kahlmeyer Mertens, Roberto Saraiva , Heuser, Ester Maria Dreher
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Estadual do Oeste do Paraná; Toledo
• Programa de Pós-Graduação: Programa de Pós-Graduação em Filosofia
• Departamento: Centro de Ciências Humanas e Sociais
• País: Brasil
• Palavras-chave em Português: Merleau-Ponty; Percepção; Mundo; Natureza primordial; Cézanne
• Palavras-chave em Inglês: Perception; World; Primordial nature
• Área do conhecimento CNPq: CIENCIAS HUMANAS::FILOSOFIA
• Link de acesso: http://tede.unioeste.br/handle/tede/3917

This dissertation in question intends to present Merleay-Ponty and Cézanne’s piece of work, from selected texts and paintings, that show the philosopher’s and the artist’s advances, about the perceived world and its pre-reflective feature. As theoretical foundation we will be using Phenomenology of Perception, which is Merleau-Ponty’s piece of work regarding this thematic, as well as his essay about the painting and its contribution as a phenomenological achievement. Merleau-Ponty questions classical theories about the perception and criticizes them in many aspects, but mainly by the mind-body dichotomy, reason and sensation, subject and object. For him, the classical theories, mainly rationalism and empiricism, influenced by the scientism from that time, reduced the world to interpretations. He tries to get back to the previous world of science and reflection, from which these are formed. Studying Merleau-Ponty’s piece of work about the perceived world, we have noticed that the painting is a frequent subject, to which the philosopher always comes back. From that, the main problem of this dissertation consists in trying to understand the following question: how does Cézanne’s painting come to be an expression of this returning to a pre-reflective world? Since his thoughts about the questions of perception change in some aspects during his work, the painting has always followed him in these changes, considering Cézanne’s doubt, Indirect language and the voices of silence, Eye and mind, each one of them written in a different period of his life and thoughts. Merleau-Ponty attributes to the painting, and especially the artist Paul Cézanne’s piece of work, the ability to express what, until then, was silence and to become visible what was thought to be invisible in perception. It is to the pre-reflective world that, still in a wild state, Merleau-Ponty intends to return through phenomenology and, according to him, this is the world that Cézanne paints.