La pensée des lieux de Paul Ricœur à l’épreuve du paysage. Un dialogue possible entre herméneutique, esthétique performative et phénoménologie

Autores

  • Francesca D'Alessandris Université de Modène et Reggio Emilia

DOI:

https://doi.org/10.5195/errs.2021.562

Palavras-chave:

Paysage, Performance, Imitation, Expérience, Texte.

Resumo

Dans cet article, nous soutenons que l’herméneutique des espaces de Paul Ricœur et la vision esthétique du paysage comme performance, basée sur les théories contemporaines de Erika Fischer-Lichte, peuvent être réconciliées par la médiation de la phénoménologie de l’a priori de Mikel Dufrenne. Nous montrons en particulier comment la représentation du paysage et son interprétation en tant que « texte » sont essentiellement liées à l’expérience pré-réflexive que nous en faisons. Cette expérience, rendue possible par l’activation d’a priori matériels précis – et donc historiques et culturels –  peut être ainsi traduite en images et en textes. En entrelaçant l’herméneutique, la phénoménologie et l’esthétique performative, nous proposerons une description philosophique aussi exhaustive que possible du paysage ; c’est-à-dire une définition du paysage qui ne néglige pas les aspects de ce phénomène suggérés par sa précompréhension linguistique et par ses représentations artistiques.

Referências

Gaston Bachelard, La poétique de l’espace (Paris : Puf,1957).

Augustin Berque, La Pensée paysagère (Bastia : Éoliennes, 2016).

Judith Butler, « Performative Acts and Gender Constitution. An Essay in Phenomenology and Feminist Theory », in Sue-Ellen Case (ed.), Performing Feminism. Feminist Critical Theory and Theatre (Baltimore/London : Johns Hopkins University Press, 1990), 270-282.

François Dagognet, Une épistémologie de l’espace concret. Néo-géographie (Paris : Vrin, 2018 [1973]).

Francesca D’Alessandris, « La durée dans la dureté. Espaces de la mémoire et mémoires de l’espace chez Paul Ricœur », Études ricœuriennes/Ricoeur Studies, vol. 10/1 (2019), p. 58-72.

Mikel Dufrenne, La notion d’a priori (Paris : Puf, 1959).

—, Le poétique (Paris : Puf, 1963).

Umberto Eco, Semantica della metafora, in Le forme del contenuto (Milano : Bompiani, 1971).

Erika Fischer-Lichte, Estetica del performativo. Una teoria del teatro e dell’arte (Roma : Carocci, 2014).

Maurice Maeterlinck, La vita delle api, trad. Cosima E. Fedeli (publication indépendante, 2020 [1921]).

Rita Messori, « Paesaggio e performatività. Tra estetica, etica e pratiche artistiche », Studi di estetica, vol. 3 (2021).

Philippe Nys, « Del paesaggio », in Roberto Barbanti, Luciano Boi, Mario Neve (eds), Paesaggi della complessità. La trama delle cose e gli intrecci tra natura e cultura (Milano : Mimesis, 2011).

Paul Ricœur, « La cité est fondamentalement périssable », in Les Grands Entretiens du « Monde » (Paris : Le Monde, 1994), t. II, p. 10-12.

—, « Architecture et narrativité », Urbanisme, vol. 303 (novembre-décembre 1998), p. 41-51.

—, La mémoire, l’histoire, l’oubli (Paris : Seuil, 2000).

—, « Urbanisation et sécularisation », Autres temps. Cahiers d’éthique sociale et politique, vol. 76-77 (2003), p. 113-126.

Rainer Maria Rilke, Del paesaggio, in Del paesaggio e altri scritti, trad. Giorgio Zampa (Milano : Adelphi, 2020).

Erwin Straus, Vom Sinn der Sinne. Ein Beitrag Zur Grundlegung Der Psychologie (New York : Springer, 1978).

Maria Cristina Clorinda Vendra, « Interpreting the Natural Environment. Paul Ricœur’s Directions for an Eco-Hermeneutic Phenomenology », Discipline Filosofiche, vol. 2 (2020), p. 261-276.

Downloads

Publicado

2021-12-15

Edição

Vol. 12 N.º 2 (2021)

Secção

Articles

Licença


Authors who publish with this journal agree to the following terms:

    1. The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.

    2. Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.

    3. The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons 4.0 License (Attribution-Noncommercial-No Derivative Works), or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:
      1. Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;
      2. Noncommercial—other users (including Publisher) may not use this Work for commercial purposes;
      3. No Derivative Works—other users (including Publisher) may not alter, transform, or build upon this Work,with the understanding that any of the above conditions can be waived with permission from the Author and that where the Work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.

    4. The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.

    5. Authors are permitted and encouraged to post online a pre-publication manuscript (but not the Publisher’s final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. Any such posting made before acceptance and publication of the Work shall be updated upon publication to include a reference to the Publisher-assigned DOI (Digital Object Identifier) and a link to the online abstract for the final published Work in the Journal.

    6. Upon Publisher’s request, the Author agrees to furnish promptly to Publisher, at the Author’s own expense, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use.

    7. The Author represents and warrants that:

      1. the Work is the Author’s original work;
      2. the Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;
      3. the Work is not pending review or under consideration by another publisher;
      4. the Work has not previously been published;
      5. the Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and
      6. the Work contains no libel, invasion of privacy, or other unlawful matter.
         
    8. The Author agrees to indemnify and hold Publisher harmless from Author’s breach of the representations and warranties contained in Paragraph 6 above, as well as any claim or proceeding relating to Publisher’s use and publication of any content contained in the Work, including third-party content.