Ellen Miller

Inside Out takes people on a journey into terrain not often explored in animated films – the inner workings of the developing 11‐year‐old self. Inside Out takes a girl's emotional development as important, primary, and worthy of attention. Along the way, audiences come to appreciate that even though emotions often feel singular, solitary, and intense, some aspects of emotions are universal and cut across age, gender, and culture. The movie also highlights the social dimension of emotional expressiveness. The directors were originally going to include many more emotions than the five core emotions they depict: joy, sadness, anger, disgust, and fear. The choice to focus on five primary emotions allows people to better appreciate how emotions are central to selfhood and how one's emotions influence his/her memories and self‐understanding.

From the beginning in 1932, LEGO toys have expressed and were designed with an ethos grounded in simplicity, care, fun, and sustainability. The LEGO corporation's emphasis on openness parallels the philosopher Martin Heidegger's emphasis on openness, releasement, and working creatively within the structures and limitations of history and culture. When one play with LEGO toys, he/she eventually realize his/her creations can be taken apart or knocked down. Heidegger explains that these moments of destruction are opportunities for understanding. For Heidegger, play is especially important because it reconnects them with the awe and wonder. The open structure of LEGO toys invites openness from creators. Other toys might create, require, and sustain different moods and modes of play. However, LEGO play reveals moods and desires in a unique way. LEGO play often extends over a sustained period of time, inviting play with the same bricks in diverse environments with different emotional settings.

Constantin Brancusi’s sculpture The First Cry (c. 1914; cast 1917) asks questions that overlap with the concerns of contemporary existential phenomenology, namely, temporality, the relation between art and truth, the nature of embodiment, and the lived experience of perception. In this paper, I put Heidegger and Merleau- Ponty’s writings into dialogue with one of Brancusi’s many ovoid sculptures. Even though Heidegger is not commonly included by those involved in body studies, his writings—especially the later writings—sketch out a philosophy that is at least open to the materiality and physicality of artworks and beholders. We will move through several entrances into this moving work: the work’s shining, listening, mirroring, and temporal dimensions. The phenomenological method employed follows Heidegger’s fundamental claim that art opens up entrances to the truth of the world around it. Brancusi’s work allows us to experience Merleau-Ponty’s concept of the chiasm, Heidegger’s idea of the fourfold, and reveals the ways in which philosophy needs art. When we stay with First Cry in our philosophizing and in the gallery, we experience the motion and movement within Brancusi’s work; the experience is at once essential and sensuous.

From the beginning in 1932, LEGO toys have expressed and were designed with an ethos grounded in simplicity, care, fun, and sustainability. The LEGO corporation's emphasis on openness parallels the philosopher Martin Heidegger's emphasis on openness, releasement, and working creatively within the structures and limitations of history and culture. When one play with LEGO toys, he/she eventually realize his/her creations can be taken apart or knocked down. Heidegger explains that these moments of destruction are opportunities for understanding. For Heidegger, play is especially important because it reconnects them with the awe and wonder. The open structure of LEGO toys invites openness from creators. Other toys might create, require, and sustain different moods and modes of play. However, LEGO play reveals moods and desires in a unique way. LEGO play often extends over a sustained period of time, inviting play with the same bricks in diverse environments with different emotional settings.

Sylvia Plath wrote in the midst of growing racial tensions in 1950’s and 1960’s America. Her work demonstrates ambivalence towards her role as a middle-class white woman. In this paper, I examine the racial implications in Plath’s color terms. I disagree with Renée Curry’s reading in White Women Writing White that Plath only considers her whiteness insofar as it affects herself. Through a phenomenological study of how whiteness shifts meaning in this poem, I hope to show that Curry’s negative estimation is only partly right. I suggest that embodiment is a problem for Plath in general, and this contributes to her inability to fully examine other bodies

Mystic -- Grundriss -- Breath -- The poem as a visual opening -- Silences of depth -- Multiple meanings of the heart -- Ariel -- The sacramental value of colors -- The turning -- Performing the feminine -- Bodies in poetry, bodies in the world -- White as lighting and depth -- In her own voice -- Striking a balance -- The moon and the yew tree -- A heavy light-ing -- Opening onto the feminine body -- Other ways of listening and seeing the poem -- In the name of the mother -- Inside the suicidal body -- Facing the other -- Engendering sexes -- The arrival of the bee box -- Arriving -- Tensions and resistance -- The blond colonnades -- Swarms: plath's stereotypes -- Plath and racial imagery -- Plath's racism, beyond the bee box -- Letting be(e) -- Appropriation and releasement -- The box is only temporary -- Epilogue: Performing the spiritual for Plath, Heidegger, and Merleau-Ponty.

I develop a phenomenological hermeneutics of four poems by Sylvia Plath: 'Mystic,' 'Ariel,' 'The Moon and the Yew Tree,' and 'The Arrival of the Bee Box.' Inspired by the work of Maurice Merleau-Ponty, I illustrate how we can experience individual poems through the multiple aspects of our embodiment. Importantly, single artworks are treated here with the same respect as single philosophical texts. Heidegger treats poems similarly in his "later" philosophy, which also influenced this dissertation. This emphasis on embodiment does not mean to privilege the body over the cognitive. Instead, the cognitive is revealed as one aspect of our bodily existence. ;Plath's poetic themes intertwine with philosophical questions, such as the difference between instituted and creative language, the nature of gender, and the ethical status of the non-human. For example, Plath's work offers new ways of addressing feminist concerns over essentialism, identity, and spirituality. Plath's emerging notion of a feminine divine resonates with Luce Irigaray's call for a philosophical revisioning of the God of Western metaphysics. Plath's articulations of the body as it lives through pain contribute to the existentialist task of drawing us closer to an authentic experience of death. I show how pain possesses a spiritual dimension for Plath and connect this phenomenon with the act of writing poetry. ;The poetic dimension of language has been suppressed by reductive accounts that theorize language and the body's involvement in language in terms of representation rather than embodiment. I reveal the non-linguistic meanings within the lines and silences of poetic space that impact and alter our bodily being. Poetry allows us to experience, among other things, the flow of lived time, the colors of sounds, and our body's fusion with the world. Significantly, phenomenology bends with these issues in a chiasmic gathering where we can experience the affinity between these two discourses. Phenomenological hermeneutics uncovers the depth of language that is usually suppressed in calculative-rational discourses. ;Through these poetic phenomenological meditations, I open up ways of understanding spiritual and poetic language that impact our ethical encounters with one another, the environment, and the divine