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Helen A. Fielding
University of Western Ontario
  1. Multiple Moving Perceptions of the Real: Arendt, Merleau-Ponty, and Truitt.Helen A. Fielding - 2011 - Hypatia 26 (3):518-534.
    This paper explores the ethical insights provided by Anne Truitt's minimalist sculptures, as viewed through the phenomenological lenses of Hannah Arendt's investigations into the co-constitution of reality and Maurice Merleau-Ponty's investigations into perception. Artworks in their material presence can lay out new ways of relating and perceiving. Truitt's works accomplish this task by revealing the interactive motion of our embodied relations and how material objects can actually help to ground our reality and hence human potentiality. Merleau-Ponty shows how our prereflective (...)
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  2.  99
    Cultivating Perception: Phenomenological Encounters with Artworks.Helen A. Fielding - 2015 - Signs 40 (2):280-289.
    Phenomenally strong artworks have the potential to anchor us in reality and to cultivate our perception. For the most part, we barely notice the world around us, as we are too often elsewhere, texting, coordinating schedules, planning ahead, navigating what needs to be done. This is the level of our age that shapes the ways we encounter things and others. In such a world it is no wonder we no longer trust our senses. But as feminists have long argued, thinking (...)
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  3.  94
    This Body of Art: The Singular Plural of the Feminine.Helen A. Fielding - 2005 - Journal of the British Society for Phenomenology 36 (3):277-292.
    I explore the possibility that the feminine, like art, can be thought in terms of Jean-Luc Nancy’s concept of the singular plural. In Les Muses, Nancy claims that art provides for the rethinking of a technë not ruled by instrumentality. Specifically, in rethinking aesthetics in terms of the debates laid out by Kant, Hegel and Heidegger, he resituates the ontological in terms of the specificity of the techniques of each particular artwork; each artwork establishes relations particular to its world or (...)
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  4.  56
    Filming Dance: Embodied Syntax in Sasha Waltz' S.Helen A. Fielding - 2015 - Paragraph 38 (1):69-85.
    This paper brings Merleau-Ponty’s phenomenological approach to Sasha Waltz’s dance film S, which focuses on the relation between sexuality and language. Maintaining that movement in cinema takes place in the viewers and not the film, the paper considers how the visual can be deepened to include the ways we move and are moved. Saussure’s insights into language are brought to the sensible, which is here understood in terms of divergences from norms. Though film would seem to privilege vision, viewing this (...)
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  5.  22
    White Logic and the Constancy of Color.Helen A. Fielding - 2006 - In Dorothea Olkowski & Gail Weiss (eds.), Feminist Interpretations of Maurice Merleau-Ponty. University Park, Pennsylvania, USA: Pennsylvania State University Press. pp. 71-89.
    This chapter considers the ways in which whiteness as a skin color and ideology becomes a dominant level that sets the background against which all things, people and relations appear. Drawing on Merleau-Ponty's phenomenology, it takes up a series of films by Bruce Nauman and Marlon Riggs to consider ways in which this level is phenomenally challenged providing insights into the embodiment of racialization.
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