Online research in philosophy

The primary concem of this essay is the similarity and difference between Merleau-Ponty’s early (Phenomenology of Perception) and late (The Visible and the lnvisible) philosophy of language. While some argue that Merleau-Ponty’s late work breaks with the earlier text and foreshadows poststructuralist and deconstructionist philosophy of language, I argue (with others) that there is no significant break in Merleau-Ponty’s thought. The similarities discovered between the early and late philosophy of language are 1.) that the body opens onto a world that is shared by all, 2.) that human gestures (of an individual and between individuals) interpenetrate and aim at the same world, and 3.) that the visual field that is already structured by the body/world interaction provides the basis for more abstract linguistic expression. The most fundamental difference discovered between these texts is that Merleau-Ponty abandons his earlier concept of the tacit cogito for the reflexivity of the body. Merleau-Ponty’s attempt to relate this reflexivity to language will also be discussed.Since there is such confusion and debate about the continuity of Merleau-Ponty’s thought, especially with respect to his philosophy of language, I have cast the essay in the form of a comprehensive exposition. The detailed textual exposition serves two purposes. First, it provides a comprehensive essay length introduction to Merleau-Ponty’s philosophy of language, and secondly, it reveals Merleau-Ponty’s thoughts in his own words, thus reducing the possibility of misinterpretation.

This essay argues that Merleau-Ponty’s concept of nature as a “privileged expression” of ontology provides the conceptual support for a more responsible attitude toward humans and nature. Furthermore, this concept of nature needs to be viewed in the light of a more profound concept that opens a new vision of the human being’s place in the world, namely Merleau-Ponty’s fields of perception. Shiva’s writings pertaining to the environment gain a more profound, yet critical, understanding when viewed in this way. Similarly, Merleau-Ponty’s attempts “to reconcile the old world and the new” (MP 1964, 4) through implementation of his phenomenology to political and ethical questions is reviewed anew.

In this first English publication of a well-known and widely respected Italian scholar, readers will encounter the preeminent interpreter of the works of Maurice Merleau-Ponty engaged in a dialogue of critical concern to contemporary philosophy. In subtle and sensitive language eminently suited to the style and substance of Merleau-Ponty's own writings, Mauro Carbone fashions four essays around a central theme-the relations of the sensible and the intelligible, and of philosophy and non-philosophy-that occupied Merleau-Ponty in his later work. An original and innovative interpretation of the ontology of Merleau-Ponty--and themselves a significant contribution to the field of Continental thought--these essays constitute a sustained exploration of what Merleau-Ponty detected, and greeted, as a "mutation within the relations of man and Being," which would provide him with the basis for a new idea of philosophy or "a-philosophy." In lucid, often elegant terms, Carbone analyzes key elements of Merleau-Ponty's thought in relation to Proust's Recherche, Hegel's Phenomenology of Spirit , the new biology of Von Uexkull, Rimbaud's Lettre du voyant , and Heidegger's conception of "letting-be." His work clearly demonstrates the vitality of Merleau-Ponty's late revolutionary philosophy by following its most salient, previously unexplored paths. This is essential reading for any scholar with an interest in Merleau-Ponty, in the questions of embodiment, temporality and Nature, or in the possibility of philosophy today.

The intent of the article is to define merleau-ponty's place in the phenomenological tradition and, at the same time, to defend his standpoint, especially on those issues where his thought represents a departure from the tradition. although merleau-ponty espouses a form of the husserlian doctrine of the intentionality of consciousness, his understanding of intentionality differs in several fundamental respects from husserl's. the article attempts to show specifically where merleau-ponty's gestalt- theoretical orientation leads him to modify such basic aspects of husserl's concept of intentionality as the noesis-noema distinction and the claim for atemporality of meaning. a critical comparison is drawn between merleau- ponty's concept of intentionality and that of aron gurwitsch. in a more positive vein, the article provides an extended exegesis of merleau-ponty's position on this central concept in phenomenology, and it also tries to relate the exposition of intentionality to merleau-ponty's thesis of the primacy of perception. finally, an attempt is made to reveal the ontological ramifications implicit in merleau-ponty's revisions to the doctrine of intentionality. (edited).

PART INTRODUCTIONS TO MERLEAU- PONTY'S PHI LOSOPH Y OF PAI NTI NG Galen A. Johnson ...

This chapter studies the theme of the body in Merleau-Ponty by first showing how it is anticipated in The Structure of Behaviour and is central to the Phenomenology of Perception. In addition to illuminating Merleau-Ponty's concept of the body, the aim is to show how the body is, for Merleau-Ponty, a key methodological term, since it marks philosophy's inherent openness to something prephilosophical, to which philosophy must be responsible. The chapter shows how this openness and the body's expressive role in the earlier philosophy anticipates key issues in the later The Visible and the Invisible.

Perhaps no concept is more central to maurice merleau-ponty's philosophy than his concept of depth. not only did merleau-ponty recognize the philosophical significance of depth for articulating a phenomenology of perception, but he saw it as essential for pursuing and expressing a novel, radical ontology. depth, merleau-ponty writes, is ``the most existential dimension,'' ``the dimension of dimensions''; it is the ``sine qua non'' of the world and being. let me elucidate merleau-ponty's radical concept of depth by ``addressing'' the salient contexts in which he approached this notion. in the first part of this paper, i shall examine depth in the experience of perception and schizophrenia. in the second, i shall discuss depth as descriptive of an ontology of ``flesh'' and as the guiding theme for the philosophical enterprise.

This paper is a response to a recent claim made by Norwegian philosopher Tarjei Larsen in the Journal of the British Society for Phenomenology that Merleau-Ponty’s own theory of painting undermines the important distinction made in his thought between primordial perception and cultural construction because it requires that perception take different cultural and historical forms in order to account for perspectival painting. I try to show that this distinction is not so easily collapsed by arguing that Larsen has misconstrued Merleau-Ponty’s account of painting as a phenomenological theory of painting and misinterpreted Merleau-Ponty’s concept of painterly style, and that therefore the conclusion that perception must be malleable is not warranted. What is at stake in this debate is whether Merleau-Ponty’s own account of painting threatens the basis for his phenomenological project as well as his attempt to accord substantial philosophical significance to painting.

Abstract This thesis is an investigation of Maurice Merleau-Ponty's notion of style via the individual, artwork, and the world. It aims to show that subject-object, self-other, and perceiver-perceived are not contrary, but are reverses of one another each requiring the other for meaningful experience. In experience, these cognitive contraries are engaged in relationships of communication and communion that render styles of interaction by which we have/are a world. A phenomenological investigation of Merleau-Ponty's notion of style via existential meaningfulness, corporeal and worldly understanding, stylistic nuances (with respect to the individual, the artwork, and the world), and the existential temporal dynamic provide the foundation for understanding our primordial connection with the world. This phenomenological unpacking follows Merleau-Ponty's thought from Phenomenology of Perception to "Cezanne's Doubt" and "Eye and Mind" through The Visible and the Invisible.

The passage above comes from the opening pages of Merleau-Ponty’s essay on Edmund Husserl. It proposes a risky interpretive principle. The main feature of this principle is that the seminal aspects of a thinker’s work are so close to him that he is incapable of articulating them himself. Nevertheless, these aspects pervade the work, give it its style, its sense and its direction, and therefore belong to it essentially. As Martin Heidegger writes, in a passage quoted by Merleau-Ponty:

The greater the work of a thinker – which in no way coincides with the breadth
and number of writings – the richer is what is un-thought in this work, which
means, that which emerges in and through this work as having not yet been
thought.²

The goal of Merleau-Ponty’s essay, he says, is “to evoke this un-thought-of element in Husserl’s thought”.³.