Philosophers, theologians, physicists, and psychologists join their efforts to reflect on the crucial issues of limit and infinity, time and eternity, empty space and material space. The volume offers an invaluable contribution to some of the most important issues of our times: questions on God and consciousness are discussed in parallel with quantum theory, black holes, the inflationary universe, the Big Bang, and string theory, from different perspectives and angles, ranging from neuroscience to AI.

Contents Preface - ix -/- I. Scientific fiction movies: is there any place for God?! 1. A brief introduction about the birth of science fiction - 15 2. Religious beliefs vs Science Fiction - 18 3. Is there any place for God?! - 20 -/- II. The Village (M. Night Shyamalan) and The Giver (Phillip Noyce) or why utopia is (im)possible 1. Some utopian notions. Remembering Thomas More - 29 2. The Village and The Giver. Some remarks on ideal societies (...) - 34 3. Notes about the possible and impossible of utopia - 39 -/- III. The limits of Zombies films are the limits of philosophy? 1. Are zombies real? From folklore to films - 46 2. The mind-body problem and the empty-minded zombies? - 54 3. The fallacy of the question. Zombies films and philosophy with no limit - 61 -/- IV. Lucy - why the brain cannot be a screen 1. Lucy and some other movies - The ten percent of the brain myth - 67 2. The enhancement of humanity -The pos-humanism after Nietzsche – 71 3. About the mind and the brain. Lucy or why the brain cannot be a screen – 74 -/- V. Viktor Navorski and Sir Alfred: the limits of consciousness at the border of chaos 1. About the terminal, Locke and Lipovetsky - 83 2. Being someone at a non-place - 87 3. Reality vs fiction. Merhan Karimi Nasseri as Sir Alfred - 89 -/- VI. Alienation and slavery from Precious or what we do not want to see 1. Cinema as a moment or the exclusive experience of feeling cinema - 97 2. Two movies, only one reality - 101 3. To conclude: the paradox of precious silence or what we don't want to see - 104 -/- VII. Philosophy of time and being in Alice through the looking glass 1. Some initial considerations on Alice - 113 2. The impossible and the possible in Alice’s time - 116 3. About time and subjectivity and subjectivity in time – 120 -/- References - cxxv. (shrink)

This paper takes up the question as to what has primacy within Merleau-Ponty’s existential phenomenology as a way to provide insight into the relation between empirical science and transcendental philosophy within his account of embodiment. Contending that this primacy necessarily pertains to methodology, I show how Kurt Goldstein’s conception of biology provided Merleau-Ponty with a scientific model for approaching human existence holistically in which primacy pertains to the transcendental practice of productive imagination that generates the eidetic organismic Gestalt in terms (...) of which sense is made of empirical facts. Considering the analogous role played by imagination in Merleau-Ponty’s account of perceptual synthesis in the form of what he called projection, I argue that his account of embodiment is, parallel to Goldstein, grounded methodologically on the projection of an organismic Gestalt, and that as a form of operative-intentional praxis projection is the site of primacy in his phenomenology overall. In terms of the relation between natural science and transcendental philosophy in Merleau-Ponty’s account of embodiment, while the theoretical dimension of the latter—the eidetic apriority of the organismic Gestalt—is coupled dialectically with empirical facts on an epistemically coeval basis, these are jointly subordinated to the normative commitments implied by the imaginative projection of that Gestalt. The primacy of the latter is transcendental but in a distinctly practical sense, such that any substantive discrepancy between natural science and Merleau-Pontian phenomenology reflects metaphilosophical, not theoretical, disagreement. (shrink)

This paper clarifies the relationship between Merleau-Ponty’s Phenomenology of Perception and Fink’s Sixth Cartesian Meditation with regard to ‘the idea of a transcendental theory of method’. Although Fink’s text played a singularly important role in the development of Merleau-Ponty’s postwar thought, contrary to recent claims made by Ronald Bruzina this influence was not positive. Reconstructing the basic methodological claims of each text, in particular with regard to the being of the phenomenologist, the nature of the productivity that makes phenomenology possible, (...) and the problem of methodological self-reference, I show that Phenomenology of Perception is premised on a decisive rejection of the main theses affirmed in the Sixth Cartesian Meditation. In contrast to Fink’s speculative reinterpretation of phenomenology as an absolute science, Merleau-Ponty viewed it as participating in the historical realization of the world, and hence as ultimately based on a practical faith. Albeit with a Marxian inflection, Merleau-Ponty thus related phenomenology much more closely to Kant. This may not be a better philosophical position, but circa 1945 it was Merleau-Ponty’s, whose work must be approached accordingly. (shrink)

A arquitetura fenomenológica não possui talvez a solidez e a homogeneidade de uma escola ou de um movimento em sentido estrito, mas representa, no entanto, um vetor notável do pensamento arquitetônico contemporâneo. Juntamente com as obras de Heidegger, as obras de Merleau-Ponty são utilizadas com frequência por aqueles que se reconhecem como representantes de uma arquitetura de inspiração fenomenológica. Neste artigo será analisado o papel que o pensamento de Merleau-Ponty desenrola nas obras e no pensamento de Juhani Pallasmaa e Steven (...) Holl, autores que se destacam pela força de seus trabalhos e pela determinação de suas posições teóricas. Particular atenção se prestará à dupla oposição que caracteriza a arquitetura fenomenológica, que se distancia com igual firmeza tanto do modernismo como do pós-modernismo. Estes autores, na reivindicação da primazia do corpo vivido e da experiência perceptiva, consideram ter encontrado um “antídoto” à ossificação produzida pela racionalidade moderna, com seus espaços funcionais e inabitáveis, como também à celebração da autorreferencialidade de um certo pós-modernismo, com seus edifícios destinados essencialmente a serem contemplados pelos apreciadores. A partir dessa dupla oposição, a arquitetura fenomenológica parece procurar um plano mais sólido numa forte acentuação da positividade da experiência corpórea e perceptiva, quando Merleau-Ponty parece empenhado, pelo contrário, em uma progressiva revisão destes aspetos. (shrink)

Este trabalho pretende comentar a doutrina que Merleau-Ponty expõe, em seus distintos períodos, sobre o que caracteriza a obra clássica e sua interpretação. Aponta-se como pressupostos dessa doutrina a admissão de uma certa filosofia da linguagem, bem como de uma particular teoria da produtividade. Em função disso, pergunta-se se, efetivamente, foi feita, ali, uma crítica radical da "filosofia da consciência", como usualmente se supõe.  .

El propósito de este trabajo apunta, en primer lugar, a dilucidar en la _Fenomenología de la percepción_, el marco a partir del cual el autor comprende la historia y, en particular, el acontecimiento histórico. Según mi opinión, la descripción de este marco, de fuerte carácter existencialista, nos permitirá, en un segundo momento, avanzar hacia los rasgos específicos del acontecimiento histórico: singularidad, generalidad y contingencia, que ofrecen la clave para comprender en qué medida el acontecimiento es, desde la mirada merleau-pontyana, enigma (...) y huella. Finalmente, una mirada prospectiva de la obra del autor nos permitirá ubicar la posición merleau-pontyana en el contexto de la discusión actual. (shrink)

The contribution that may come from the general science of signs, semiotics, to the planning and development of education and learning at all levels, from early schooling through to university education and learning should not be neglected. As Umberto Eco claims in the “Introduction” to the Italian edition of his book Semiotica and Philosophy of Language (1984: xii, my trans.), “[general semiotics] is philosophical in nature, because it does not study a particular system, but posits the general categories in light (...) of which different systems can be compared. And for general semiotics philosophical discourse is neither advisable nor urgent: it is simply constitutive.” To the title of their book Semiotic Theory of Learning, at the centre of our attention in the present text, Andrew Stables, Winfried Nöth, Alin Olteanu, Sébastien Pesce, and Eetu Pikkarainen, rightly add the subtitle New Perspectives in the Philosophy of Education. This multivoiced contribution to research in learning and education in a semiotic framework has a unifying reference in the semiotics of Charles S. Peirce, but without disregarding an array of other distinguished exponents of the teaching and education sciences from different disciplines, semioticians and philosophers alike. This book, a polyphonic effort, with its appeal to “act otherwise,” and to do so investing in learning and education, no doubt makes a significant contribution in such a direction: education for transformation, for humanizing social change. Beyond evidencing what to us are particularly interesting aspects of the topics under discussion in Semiotic Theory of Learning, we also propose to continue and amplify this multivoiced dialogue. While highlighting still other aspects and contributions made by the same semioticians and philosophers presented by the authors of this book, involving such figures as Charles Peirce, Charles Morris, Thomas Sebeok, John Deely, etc., we have further introduced other voices made to resound throughout, whether directly or indirectly, like that of Victoria Welby, Mikhail Bakhtin, Emmanuel Levinas, Adam Schaff, Ferruccio Rossi-Landi, Marcel Danesi, Augusto Ponzio, and Genevieve Vaughan. (shrink)

This paper describes a method for analyzing a corpus of descriptions collected through micro-phenomenological interviews. This analysis aims at identifying the structure of the singular experiences which have been described, and in particular their diachronic structure, while unfolding generic experiential structures through an iterative approach. After summarizing the principles of the micro-phenomenological interview, and then describing the process of preparation of the verbatim, the article presents on the one hand, the principles and conceptual devices of the analysis method and on (...) the other hand several dimensions of the analysis process: the modes of structural unfolding of generic structures, the mutual guidance of the processes of structural and experiential unfolding, the tracking of analysis processes, and finally the assessment of analysis results. (shrink)

Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and of what (...) we experience when we look at their paintings. The investigation of the particular mode of being of images leads to a consideration of the body and Merleau-Ponty’s later ontology. (shrink)

La concepción encarnada de la persona tiene gran relevancia en la filosofía de Merleau-Ponty. Por esta razón otorga importancia a la Encarnación de Jesucristo como hecho determinante del cristianismo. Su interés por esta religión se manifiesta a lo largo de su obra con diferentes énfasis y perspectivas: algunas veces se acentúa la crítica, otras veces un enfoque más propositivo. El artículo analiza la relación de Merleau-Ponty con el cristianismo, destacando el hecho de que Dios interviene en el mundo, acto que, (...) de alguna manera, modifica la relación entre Dios Padre y Dios Hijo. El filósofo ofrece una interpretación interesante de la Encarnación, que plantea cuestiones a resolver en el cristianismo. Por esta razón, la última parte del artículo propone algunas respuestas, desde la perspectiva cristiana, a las interrogantes merleaupontianas. (shrink)

Throughout his career, Husserl identifies naturalism as the greatest threat to both the sciences and philosophy. In this paper, I explicate Husserl’s overall diagnosis and critique of naturalism and then examine the specific transcendental aspect of his critique. Husserl agreed with the Neo-Kantians in rejecting naturalism. He has three major critiques of naturalism: First, it (like psychologism and for the same reasons) is ‘countersensical’ in that it denies the very ideal laws that it needs for its own justification. Second, naturalism (...) essentially misconstrues consciousness by treating it as a part of the world. Third, naturalism is the inevitable consequence of a certain rigidification of the ‘natural attitude’ into what Husserl calls the ‘naturalistic attitude’. This naturalistic attitude ‘reifies’ and it ‘absolutizes’ the world such that it is treated as taken-for-granted and ‘obvious’. Husserl’s transcendental phenomenological analysis, however, discloses that the natural attitude is, despite its omnipresence in everyday life, not primary, but in fact is relative to the ‘absolute’ transcendental attitude. The mature Husserl’s critique of naturalism is therefore based on his acceptance of the absolute priority of the transcendental attitude . The paradox remains that we must start from and, in a sense, return to the natural attitude, while, at the same time, restricting this attitude through the on-going transcendental vigilance of the universal epoché. (shrink)

: The paper argues that the philosophical starting point of Simone de Beauvoir's The Second Sex is the phenomenological understanding of the living body, developed by Edmund Husserl and Maurice Merleau-Ponty. It shows that Beauvoir's notion of philosophy stems from the phenomenological interpretation of Cartesianism which emphasizes the role of evidence, self-criticism, and dialogue.

The paper argues that the philosophical starting point of Simone de Beauvoir's The Second Sex is the phenomenological understanding of the living body, developed by Edmund Husserl and Maurice Merleau-Ponty. It shows that Beauvoir's notion of philosophy stems from the phenomenological interpretation of Cartesianism which emphasizes the role of evidence, self-criticism, and dialogue.

This article aims to examining the meaning of the political in Karl Marx’s thought from the perspective of Carl Schmitt’s interpretation. While on one hand the German jurist considers that Marxism subsumes political problems under economical issues, on the other hand he stresses that Marx thought politics through the deepening of the antagonism and dictatorship of the proletariat. However, for Schmitt, these two elements of the political in Marx are built based on the Hegelian logic of history. In this paper, (...) I discuss this Hegelian legacy in Marx’s political thought and suggest an alternative to think politics appealing to “practical materialism”, in which contingent action that stems from human coexistence is accentuated. (shrink)

This paper intends to examine some of the limitations of the well-known Merleau- Pontian account of the lived body in terms of "body schema" and "habitual body", by taking into account some alternative references of the philosopher’s textual corpus to certain dimensions of corporeal experience that exceed such frames. After analyzing these former definitions that outline the profile of a skillful and competent body co­rrelative of a pragmatic environment, we consider cases of non-teleological and non-functional behaviors and non-objective and non-instrumental (...) spatialities to end up by showing the relationship between these analyses and the wider Merleau-Pontian account of the natural horizons of experience. Secondarily, we evaluate critiques such as A. Lingis’ and J. Butler’s aiming to certain deficits of Merleau-Pontian theses, and we identify certain relations that these theses hold with philosophical developments showing certain specific affinities, such as E. Levinas’ and R. Caillois’. (shrink)

El artículo procura destacar la relevancia teórico-política de una obra filosófica como _Fenomenología de la percepción _en el planteo de algunas cuestiones centrales para el pensamiento político. La estrategia fue la siguiente: en primer lugar, identificar las zonas de la obra donde irrumpen cuestiones políticas; en segundo lugar, extraer las consecuencias a partir de una hipótesis de lectura que postula, por un lado, el vínculo entre libertad-poder-espacio y, por el otro, entre institución-autoridad-tiempo. Finalmente, se trata de poner en relación ambos (...) vínculos a través de la figura del cuerpo y de su posible deriva hacia la noción de cuerpo político. (shrink)

Štúdia interpretuje udalostnú hermeneutiku francúzskeho fenomenológa Clauda Romana, ktorú postuloval v publikáciách Udalosť a svet, Udalosť a čas a Tam je, a to cez prizmu umeleckej skúsenosti. Štúdia si kladie za cieľ interpretovať pojmy ako udalosť, advenant, ex-per-iancia, rekonfigurácia a ničota a poukázať na ich súvislosť s umením. Pracovná téza je: Advenant býva umelecky. Cieľom štúdie tak nie je len analýza a pred-stavenie Romanovho diela, ale aj vyzdvihnutie tendencií smerujúcich k chápaniu udalosti a advenanta v umeleckých kontúrach. Štúdia preto analyzuje (...) autorov kontext, ktorý tvorí fenomenologická hermeneutika, predovšetkým diela Martina Heideggera a Henriho Maldineya. V súvislosti s rekonfiguratívnym aspektom advenantovho bytia sa v štúdii stáva ústredným konceptom pojem figúry, z ktorého následne vyplýva problém herectva. (shrink)

Phenomenological, process-based and post-Marxist approaches have stressed the immanent nature of the ontogenesis of our world. The concept of performativity epitomizes these temporal, spatial and material views. Reality is always in movement itself: it is constantly materially and socially ‘performed’. Other views lead to a pre-defined world that would be mostly revealed through sensations. These transcendental stances assume that a subject, although pre-existing experience, is the absolute condition of possibility of it. In this paper, we develop another view of performativity, (...) one that re-introduces transcendence in the analysis but sees in it something dialogical to the process itself. We draw from the notions of visibility-invisibility and continuity-discontinuity in order to show how everyday activity both performs and makes visible the world. From that perspective, modes of visibility appear as conditions of possibility of performativity itself. We draw some implications for the conceptualization of management practices. (shrink)

The arguments advanced in this paper are the following. Firstly, that just as Trevarthen’s three subjective/intersubjective levels, primary, secondary, and tertiary, mapped out different modes of access, so too response is similarly structured, from direct primordial responsiveness, to that informed by shared pragmatic concerns and narrative contexts, to that which demands the distantiation afforded by representation. Secondly, I propose that empathy is an essential mode of intentionality, integral to the primary level of subjectivity/intersubjectivity, which is crucial to our survival as (...) individuals and as a species. Further to this last point, I argue that empathy is not derived on the basis of intersubjectivity, nor does it merely disclose intersubjectivity, rather it is constitutive of intersubjectivity at the primary level. Empathy is a direct, irreducible intentionality separable in thought from the other primary intentional modes of perception, rationality, memory and imagination, but co-arising with these. In regard to the inter-personal level, the concrete relations with others, primary empathy is both the ground for the possibility of the secondary manifestations—pity, sympathy, perspective taking, etc., and motivates them. Thirdly, it is the movement in the core of subjectivity initially generated by shifting attention between the ‘I’ and ‘we’ perspectives and later ‘solidified’ through affect to become shifting identification, which opens up the intersubjective domain. So we can affirm that we are not only born into sociality but our sociality goes to the roots of our being as Husserl, Heidegger and Merleau-Ponty have claimed. (shrink)

The purpose of this work is to approach the way in which, in Being and Nothingness, Sartre thinks of conflict as the original way of encountering the other. Conflict is presented as the fundamental ontological dimension of intersubjective relationships. In this sense, the subjectivation-objectification dialectic does not correspond to a political or historical event, but these events are consequences of the ontological structure of human reality.

The present article investigates some consequences from the rapport ofthe creative and the sedimented language in Maurice Merleau-Ponty's works. It aims at analyzing the different positions adopted by the philosopher on that rapport by considering the image of a boiling liquid as the guide for such analysis. The heuristic power of this image will help, on one side, to comprehend the different standpoints used to interpret the phenomenon of language; on the other side, it will serve as an index to (...) follow the rectification and the radicalization of his philosophy. (shrink)

Emotion is traditionally described as a phenomenon that dominates the subject because one does not choose to be angry, sad, or happy. However, would it be totally absurd to conceive emotion as behaviour and a manifestation of the spontaneity and liberty of consciousness? In his short text, Esquisse d''une theorie des émotions, Sartre proposes a phenomenological description of this psychological phenomenon. He distinguishes between constituted affectivity, which gives rise to emotions, and an original affectivity lacking intentionality, and tied closely to (...) bodily processes. It appears that emotion is first and foremost a magical attitude toward the world, an attitude freely adopted by the subject. Against what is often written, this thesis doesn''t mean that emotion would be a pure comedy but only that, in spite of appearances, this behaviour isn''t a matter of what Descartes calls soul''s passions. (shrink)

The question I intend to answer is whether one can speak of a tacit metaphysics, not expressed conceptually, but nevertheless common. If the answer is positive and providing that it is specific to day-to-day life, such metaphysics may be called everyday metaphysics. To this end, I review the meaning of everyday life and its ambivalent character. Next, I present several milestones in the debate on the subject, from authors who have focused on a kind of usual, common or ‘natural’ metaphysics. (...) Lastly, I formulate the idea under consideration, namely that everyday life implies or underlies a certain metaphysics. I note that it is an implicit metaphysics – not expressed formally – and rather free. Embraced in experience with a certain degree of freedom, it is recognisable by means of certain representations active in our mind, by the manner of speaking or of understanding and by the common forms of expression. Its vibrancy, concrete and relaxed character makes it highly evocative of the mental life of an era. It ensures a truly essential difference in our everyday mode of being. (shrink)

This thesis wrestles with the normativity of language, its usage and its practices while questioning the signifié-signifiant reality. A structural reading of language designs its translational practices within the source-target framework, thereby essentialising its relationship en passant: everything has meaning as long as we accept the hidden framework of a universal language. Therefore, language outlined as a system of signs is a product of transcendental considerations and consequently it renders practice into a hermeticrealm in which the distinction between eidos and (...) eidolon, right and wrong, familiar and unfamiliar, grammar and gibberish makes perfect sense and in which the translation from A to B is simply a matter of transferring identities. Linguistic power neutralises through its transcendental conditioning ephemera in life and world. We will discover that a phenomenological reading of language is open to layers which questions the dialectic setting of linguistic knowledge production. Phenomenology proposes to study life-world relationships by reducing the power of dialectical denomination to the power of gazing or to the lenses of ambiguity. Theorising language and translational practices within the phenomenological realm follows the concept of being oriented towards body-life-world while laying bare the phenomenon language. This revealing method supersedes empirical considerations since phenomenological methodology questions permanently our very own positioning. Hence, the transfer from A to B will be challenged by possibilities which are temporary: it is about a transfer zone featuring A as A’ to B or A’ in B / C. However, the phenomenological possibility reveals that the price for ephemera is tamed by the condition of its possibilities: indeed, the aporia of linguistic identity in polyvalence requires not only phenomenological brackets but also a transcendental backup. Chapter I and II study the translational practice of language and phenomenology by explaining its analysis via dynamised transcendental conditions. The disillusion of the phenomenological inquiry will be yield by radicalising phenomenological reading of language towards a phenomenographical practice of language. Chapter III goes to the extremes in exposing a language without content. The introduction of the trickster figure Narcissistgrotesque Face will be the anti-metaphor in which the grotesque line up forces us to learn bearing A with B and in which the non-content materiality of linguistic practices resemble le bas matérialisme. Not explanation, understanding and rendering things plausible is the movens for language but it is all about the spur of its enactment, its style and its story telling that renders translational practice visible. Chapter III is a performative practice in which we turn the text into texture. Translation happens then when your are perplex and the translational void enacts you and me. (shrink)

Resumen: El objetivo del siguiente trabajo es explicar cómo la elaboración de una ontología de la naturaleza por parte de Merleau-Ponty se circunscribe en el intento de elaborar un pensamiento del ser que no haga de éste un elemento del pensamiento abstracto, sino que dé cuenta de la experiencia concreta del ser en el mundo. En este sentido, son fundamentales los conceptos de intercorporalidad, negatividad y dialéctica.: The aim of the following work is to explain how the elaboration of an (...) ontology of nature by Merleau-Ponty belongs to an attempt of developing a thought of being which does not reduce it to an element of the abstract thought, but takes into account the concrete experience of being in the world. In this respect, the concepts of intercorporeality, negativity, and dialectics are fundamental. (shrink)

Resumen: Ofreceré un análisis de la célebre crítica de la fenomenología de Merleau-Ponty en términos de una presunta oscilación entre “positivismo” y “escatología”. Como intentaré demostrar, atribuir al fenomenólogo francés una reducción “positivista” de la epistemología equivaldría a pasar por alto su insistencia en que nos apartemos de la autocomprensión que las ciencias empíricas ofrecen de sus propios resultados; esto es, a pasar por alto sus objeciones fenomenológicas a los marcos ontológicos ingenuos del “pensamiento objetivo”. En cuanto al cargo de (...) “escatología”, al parecer en virtud de sus deudas con el pensamiento marxista, intentaré probar que, no se puede sostener una vez que se toma en consideración el carácter matizado de su aceptación de ciertos aspectos del materialismo histórico.: I will attempt to analyze Foucault’s famous critique of Merleau-Ponty’s phenomenology in terms of an alleged oscillation between “positivism” and “eschatology”. As I will try to prove, attributing to Merleau-Ponty a “positivistic” reduction of epistemology would amount to overlooking his insistence on moving away from the self-interpretations that empirical sciences offer of their own results; that is to say, overlooking his phenomenological objections against the naïve ontological frames of “objective thinking”. As for the charge of “eschatology”, presumably applied to the phenomenologist by virtue of his debts to Marxist thought, I will try to show that -either understood in a strictly epistemological sense or in connection with an alleged Merleau-Pontyan adhesion to a philosophy of history- it proves untenable once we take into consideration the nuanced character of his acceptance of certain aspects of historical materialism. (shrink)

Comparo o poeta Charles Baudelaire e o filósofo Maurice Merleau-Ponty como críticos sociais da modernidade a partir do interior da sociedade moderna. Exploro a influência não reconhecida de Baudelaire sobre Merleau-Ponty como uma forma de reler a fenomenologia de Merleau-Ponty. Também examino a poesia de Baudelaire assim como seu ensaio “O pintor da vida moderna”. Embora o ensaio afirme ser uma análise da importância do pintor C. Guys, sustento que pode ser lido como autobiográfico - revelando uma consciência do poeta (...) enquanto crítico social da modernidade. Da mesma maneira, as caracterizações de artistas feitas por Merleau-Ponty revelam muito sobre a sua visão do papel do filósofo como crítico social. Pode-se ler a fenomenologia de Merleau-Ponty como uma arte em vez de como uma ciência das ciências. Finalmente, exploro as implicações políticas dessa fenomenologia baseada na estética. Sustento que há uma profundidade histórica revelada por essa arte fenomenológica do julgamento político que seria negligenciada por qualquer ciência política.I compare poet Charles Baudelaire and philosopher Maurice Merleau-Ponty as social critics of modernity from within modern society. I explore Baudelaire’s unacknowledged influence upon Merleau-Ponty as a means of re-reading Merleau-Ponty’s phenomenology. I examine Baudelaire’s poetry as well as his essay, The Painter of Modern Life. Though the essay claims to be an analysis of the significance of the painter C. Guys, I argue that it can be read as autobiographical - revealing a sense of the poet as social critic of modernity. Likewise, Merleau-Ponty’s accounts of artists reveal a great deal about his own view of the role of the philosopher as social critic. One can read Merleau-Ponty’s phenomenology as an art rather than as a science of sciences. Finally, I explore the political implications of this aesthetic-based phenomenology. I argue that there is an historical depth revealed by this phenomenological art of political judgment that would be neglected by any political science. (shrink)

El texto se propone abordar el problema de la expresión en la filosofía de Merleau-Ponty bajo tres aspectos generales: 1. Hacia una ontología de lo sensible, 2. Expresión y diferencia corporal y 3. Cuerpo y expresión creadora. A partir de la noción de naturaleza se busca, con el primer apartado, destacar el carácter ontológico de la percepción, con el fin de comprender por qué la percepción es ya expresión. En segundo lugar, se pretende ahondar en la tesis del cuerpo como (...) expresión y de esta manera poder precisar su vínculo esencial con el lenguaje. A partir de la distinción entre el lenguaje hablante y el lenguaje hablado se precisa, finalmente, el carácter paradójico de la expresión, su sentido encarnado. (shrink)