著者

太田 智己

出版者

東京芸術大学

雑誌

東京藝術大学美術学部論叢 (ISSN:18801048)

巻号頁・発行日

vol.8, pp.A1-A13, 2012-03

著者

石田 圭子

出版者

東京芸術大学

雑誌

東京藝術大学美術学部論叢 (ISSN:18801048)

巻号頁・発行日

vol.6, pp.5-20, 2010-02

著者

横山 奈那

出版者

東京芸術大学

雑誌

東京藝術大学美術学部論叢 (ISSN:18801048)

巻号頁・発行日

pp.39-59, 2005-04

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"Ambiguity" is one of the important philosophical concepts in Merleau- Ponty's early works. It means a kind of duality which is essentially in existence. In Cezanne's doubt (1945), the concept of ambiguity is explained as a Cezanne's attitude trying to avoid the alternative, and Cezanne's such attitude enables his technique "deformations". Merleau-Ponty considers that this technique arises from the perspectives system based on the body of "me- myself' which is the being-in-the-world at the same time. On the other hand, the classical / rational perspective has an immovable vanishing point. He regards this fixed point as a subjective viewpoint and recognizes the objective world from it. The classical perspective symbolizes the structure of the recognition in the western modern philosophy. And Merleau-Ponty is critical about it. He uses the concept of ambiguity to explain the structure oi recognition different from the traditional western philosophy. Furthermore, in order to consider1 the ambiguous attitude of Cezanne who is trying to avoid the alternative, he makes mention of Cezanne's doubt. Then he reveals that Cezanne is an ambiguous being as well as the corporal existence. The aim of this paper is to point out that "ambiguity" is the main concept of Merleau-Ponty's phenomenology and picture's theory through his early works. I indicate the "nature" which is Cezanne's important motif, and the relations between Merleau-Ponty's phenomenology and Cezanne's artistic projects.

著者

本田 光子

出版者

東京芸術大学

雑誌

東京藝術大学美術学部論叢 (ISSN:18801048)

巻号頁・発行日

vol.4, pp.A1-A30, 2008-03

著者

平山 郁夫

出版者

東京芸術大学

雑誌

東京藝術大学美術学部論叢 (ISSN:18801048)

巻号頁・発行日

2005-04