Shannon Sullivan's critique of Merleau-Ponty's Phenomenology of Perception is based on the argument that, due to his concept of the “anonymous body,” his theory of intersubjectivity omits the particularities of bodies, such as gender. I argue that Merleau-Ponty's “anonymous body” is not in fact “neutral” as Sullivan suggests, and moreover that he does not ignore differences but rather provides us with the idea of difference as a process of differentiation. Additionally, I argue that Sullivan's concept of “hypothetical construction,” which is (...) introduced as an alternative to Merleau-Ponty, turns out to be a conscious construction, not reflecting upon its very conditions. Thus, Sullivan's account fails by presupposing what in fact needs to be explained: the particularities. (shrink)

: Shannon Sullivan's critique of Merleau-Ponty's Phenomenology of Perception is based on the argument that, due to his concept of the "anonymous body," his theory of intersubjectivity omits the particularities of bodies, such as gender. I argue that Merleau-Ponty's "anonymous body" (le corps phénoménal) is not in fact "neutral" as Sullivan suggests, and moreover that he does not ignore differences but rather provides us with the idea of difference as a process of differentiation. Additionally, I argue that Sullivan's concept of (...) "hypothetical construction," which is introduced as an alternative to Merleau-Ponty, turns out to be a conscious construction, not reflecting upon its very conditions. Thus, Sullivan's account fails by presupposing what in fact needs to be explained: the particularities. (shrink)

International Beauvoir scholars and renowned feminist phenomenologists from North America and Europe offer a unique look at one of the most outstanding existential-philosophical studies on age and aging. The articles cover three main issues: gender, ethics, and time. This volume offers valuable contributions to Beauvoir studies, aging studies, cultural and gender studies, feminist theory, phenomenology, and existential philosophy.

Phenomenology is considered a philosophy of experience. But in the wake of French post-structuralism beginning in the 1970s, the concept of experience within phenomenology has fallen under heavy critique. Even today, in the context of feminist philosophy the phenomenological concept of experience has yet to recover from the poststructuralist critique. In this article, I will closely examine the poststructuralist critique of the concept of experience within the context of feminist theory. I will thereby refer first and foremost to the poststructuralist (...) theorist Joan Scott, and her influential text “'Experience'”. In my examination of the poststructuralist critique of experience, the leading question will be whether or not this critique, down to its details, can in fact be applied to phenomenology. My thesis is that phenomenology is able to withstand the poststructuralist critique of experience. Further, I will argue that post-structuralism and phenomenology have more in common as regards the concept of experience than is usually admitted. For several reasons, it seems - as I will maintain - that both poststructuralist feminism and phenomenology are equally interested in a strong concept of experience and thus do not promote doing away with the concept. (shrink)

One of the most fundamental premises of feminist philosophy is the assumption of an invidious asymmetry between the genders that has to be overcome. Parallel to this negative account of asymmetry we also find a positive account, developed in particular within the context of so-called feminist philosophies of difference. I explore both notions of gender asymmetry. The goal is a clarification of the notion of asymmetry as it can presently be found in feminist philosophy. Drawing upon phenomenology as well as (...) feminist difference theory , I argue that a gender asymmetry does exist that cannot-as in the first assumption-be transformed into symmetry. (shrink)

One of the most fundamental premises of feminist philosophy is the assumption of an invidious asymmetry between the genders that has to be overcome. Parallel to this negative account of asymmetry we also find a positive account, developed in particular within the context of so-called feminist philosophies of difference. I explore both notions of gender asymmetry. The goal is a clarification of the notion of asymmetry as it can presently be found in feminist philosophy. Drawing upon phenomenology as well as (...) feminist difference theory, I argue that a gender asymmetry does exist that cannot-as in the first assumption-be transformed into symmetry. (shrink)

This essay argues that despite of the feminist critique of Merleau-Ponty his phenomenology can be positively appropriated to the theory of sexual difference. It focuses on three issues: the first one is closely linked to the Phenomenology of Perception and introduces a concept of "difference as differentiation". The second one is concerned with the intersubjective dimension of sexuality and will be called a "sexual syncretism". Finally, I’m referring to Merleau-Ponty's notion of "chiasm" in his late work The Visible and the (...) Invisible in order to apply it to the theory of sexual difference. At this point, the difference between sexual beings will be conceptualized as "chiasmatic intertwining". In doing so, I hope to show that Merleau-Ponty's phenomenology is a helpful resource for philosophical research that is mainly concerned with the questions of sexuality and sexual difference. (shrink)

Until now post-structuralism is widely regarded as an opposite to phenomenology. This is also true for the relation of Butler’s post-structuralism and Merleau-Ponty’s phenomenology. The aim of this paper is to show how close they are to each other. For this purpose, I will focus on Butler’s poststructuralist theory of performativity to confront it with Merleau-Ponty’s phenomenological theory of expression. While Butler accuses theories of expression of being essentialist, I argue that Merleau-Ponty’s theory of experience resists such a criticism. “Expressivity” (...) and “performativity”, and thus phenomenology and post-structuralism, are not opposites but partners in the search for an anti-essentialist concept. (shrink)

A remarkable number of philosophies of laughter center their research on explosive laughter. When it comes to 20th century philosophers of laughter, this is true for Henri Bergson, Sigmund Freud, Hélène Cixous and Helmuth Plessner among others. What those approaches share is the assumption that in explosive laughter people are rendered powerless. Others, as for example Georges Bataille speak of the entire loss of intentionality. But how far does the loss of intentionality and power really go? From this starting-point a (...) reconsideration of the so-called loss of power seems to be at stake. I will discuss selected theories of laughter from the phenomenological tradition in order to show that the loss of power cannot be claimed to be total. With the help of Plessner’s phenomenology of the body in Laughing and Crying and Merleau-Ponty’s concept of “operative intentionality” from his Phenomenology of Perception, I will argue that a certain form of intentionality is a precondition for the act of laughter. In general, the paper aims at clarifying the phenomenon of explosive laughter and expounding on the debate over intentionality vs. non-intentionality from the perspective of phenomenology. (shrink)

What kind of ethics can we consider in the framework of feminist phenomenology that takes poststructuralist feminism into account? This seems to be a difficult task for at least two reasons. First, it is not yet clear what ethics in poststructuralist feminism is. Second, phenomenology and poststructuralism are still regarded as opposites. As a phenomenologist with strong affinities to poststructuralism, I want to take on this challenge. In this paper, I will argue that phenomenology and poststructuralism share the idea of (...) the “indeterminable.” If this idea is applied to the topic of gender, we can speak of an “indeterminable gender.” Moreover, phenomenology and poststructuralism support an ethical attitude toward genders inasmuch as they both avoid making problematic determinations. My goal is to explore what the so-called “indeterminable gender” is and to illuminate the ethical implications of this concept. (shrink)

Der französische Phänomenologe Maurice Merleau-Ponty (1908-1961) hat sich sein ganzes Oeuvre hindurch mit der Wahrnehmung auseinandergesetzt. Diesseits von empiristischen und rationalistischen Vorurteilen versucht er, der Eigenlogik der Wahrnehmung gerecht zu werden. Seine Interpretation mündet in die These vom Primat der Wahrnehmung, wonach die Wahrnehmung Grundphänomen ist. Die Autorin widmet sich in ihrer Studie der Phänomenologie der Wahrnehmung (1945), worin Merleau-Pontys Wahrnehmungstheorie grundgelegt ist, indem sie die fundamentale Bedeutung der Wahrnehmung in diesem Werk herausarbeitet.

Until now post-structuralism and phenomenology are widely regarded as opposites. Contrary to this opinion, I am arguing that they have a lot in common. In order to make my argument, I concentrate on Judith Butler’s poststructuralist concept of performativity to confront it with Maurice Merleau-Ponty’s phenomenological concept of expressivity. While Butler claims that phenomenological theories of expression are in danger of essentialism and thus must be replaced by non-essentialist theories of performativity, I hold that Merleau-Ponty’s concept of expressivity must strictly (...) be understood in anti-essentialist terms. Following this line of interpretation, “expressivity” and “performativity”—as well as phenomenology and post-structuralism—are not opposites but partners in the search for an anti-essentialist gender concept. Consequently, feminist phenomenology turns out to be a non-essentialist approach that combines phenomenological and post-structural insights. (shrink)

This volume focuses on Maurice Merleau-Ponty’s important contribution to the phenomenology of corporeity and affectivity, and it explores the various influences his work had and still has on other disciplines.

: Responding to Silvia Stoller's comments on "Domination and Dialogue in Merleau-Ponty's Phenomenology of Perception" (Sullivan 1997), I argue that while phenomenology has much to offer feminism, feminists should be wary of Merleau-Ponty's notion of projective intentionality because of the ethical solipsism that it tends to involve. I also take the opportunity to clarify the concept of hypothetical construction introduced in the earlier paper, in particular the transformative relationship that it has to pre-reflective experience.

Responding to Silvia Stoller's comments on “Domination and Dialogue in Merleau-Ponty's Phenomenology of Perception”, I argue that while phenomenology has much to offer feminism, feminists should be wary of Merleau-Ponty's notion of projective intentionality because of the ethical solipsism that it tends to involve. I also take the opportunity to clarify the concept of hypothetical construction introduced in the earlier paper, in particular the transformative relationship that it has to pre-reflective experience.

MĂDĂLINA DIACONU, Tasten, Riechen, Schmecken. Eine Ästhetik der anästhesierten Sinne, 2005 ; SILVIA STOLLER, VERONICA VASTERLING,LINDA FISHER, Feministische Phänomenologie und Hermeneutik, 2005 ; KARL SCHUHMANN, Karl Schuhmann: Selected Papers on Phenomenology. Edited by CEES LEIJENHORST and PIET STEENBAKKERS, 2004 ; HIROSHI GOTO, Der Begriff der Person in der PhänomenologieHusserls. Ein Interpretationsversuch der Husserlschen Phänomenologie als Ethik im Hinblick auf den Begriff der Habitualität, 2004 ; GÜNTER FIGAL, Lebensverstricktheit und Abstandsnahme. „Verhalten zu sich“ im Anschluss an Heidegger, Kierkegaard und (...) Hegel, 2001 ; JACQUES DERRIDA, Le toucher, Jean-Luc Nancy, 2000. (shrink)

This paper is an argument for drawing creative practice to the center of philosophical aesthetics. Such an approach would engage philosophical problems that originate from artistic practices. It would also give aesthetics a role in the cultivation of creative practices, both inside and outside of traditional artistic fields. As such aesthetics would begin to engage questions that are pertinent to creativity and the enhancement of artful living.

Can art, religion, or philosophy afford ineffable insights? If so, what are they? The idea of ineffability has puzzled philosophers from Laozi to Wittgenstein. In Ineffability and its Metaphysics: The Unspeakable in Art, Religion and Philosophy, Silvia Jonas examines different ways of thinking about what ineffable insights might involve metaphysically, and shows which of these are in fact incoherent. Jonas discusses the concepts of ineffable properties and objects, ineffable propositions, ineffable content, and ineffable knowledge, examining the metaphysical pitfalls involved (...) in these concepts. Ultimately, she defends the idea that ineffable insights as found in aesthetic, religious, and philosophical contexts are best understood in terms of self-acquaintance, a particular kind of non-propositional knowledge. Ineffability as a philosophical topic is as old as the history of philosophy itself, but contributions to the exploration of ineffability have been sparse. The theory developed by Jonas makes the concept tangible and usable in many different philosophical contexts. (shrink)

In Knowing and Learning as Creative Action, Aaron Stoller makes the case that contemporary schooling is grounded in a flawed model of knowing, which draws together mistakes in thinking about the nature of the self, of knowledge, and of reality, which are contained in the epistemological proposition: 'S knows that p' (SP). To the contrary, Stoller argues that the German conception of Bildung must replace SP thinking as the guiding metaphor of knowing within educational research and practice. Central (...) to this reconstruction is a theory of creative inquiry which claims that knowledge emerges from embodied, social engagement in the world and therefore knowing is a form of creative action. Stoller constructs a new paradigm of knowing and learning as an emergent process of creative making, the goal of which is the cultivation of what he calls maker's knowledge, which is the capacity for and habit of creative action. (shrink)

The Scottish Enlightenment shaped a new conception of history as a gradual and universal progress from savagery to civil society. Whereas women emancipated themselves from the yoke of male-masters, men in turn acquired polite manners and became civilized. Such a conception, however, presents problematic questions: why were the Americans still savage? Why was it that the Europeans only had completed all the stages of the historic process? Could modern societies escape the destiny of earlier empires and avoid decadence? Was there (...) a limit beyond which women's influence might result in dehumanization? The Scottish Enlightenment's legacy for modernity emerges here as a two-faced Janus, an unresolved tension between universalism and hierarchy, progress and the limits of progress. (shrink)

Dieses Buch untersucht, was in den jeweiligen Theorieansätzen mit Bildhandeln‹ gemeint ist, indem eine Reihe von philosophischen und kunstwissenschaftlichen Ansätzen zum Verhältnis von Bild und Handlung vorgestellt und systematisiert werden. Vier paradigmatische Handlungstypen werden voneinander differenziert, die spezifische Verwendungsmöglichkeiten von Bildern umfassen. Die ersten zwei – Bildspiele‹ und Bildakte‹ – beruhen auf der sprachphilosophisch motivierten Prämisse, dass die Verwendung von Bildern der Struktur eines Sprachspieles oder eines Sprechaktes entspricht. Diese Prämisse bezieht sich auf Verwendungsweisen, durch die materiellen Gegenständen der Bildstatus (...) zugeschrieben wird. Demgegenüber werden zwei weitere Bildhandlungstypen vorgestellt, wonach Bilder nur dann verwendet werden können, wenn ihr Bildstatus bereits feststeht. Diese Bildhandlungstypen werden mit einem Vergleich von Bildern und Werkzeugen sowie der Kategorie Probehandlungen‹ thematisiert. (shrink)