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  1. Merleau‐Ponty and the Significance of Style.Andrew Inkpin - 2019 - European Journal of Philosophy 27 (2):468-483.
    European Journal of Philosophy, EarlyView.
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  • Literature and the Expressions of Being in Merleau-Ponty’s Unpublished Course Notes.Lovisa Andén - 2019 - Journal of the British Society for Phenomenology 50 (3):208-219.
    ABSTRACTIn this article I examine Merleau-Ponty’s understanding of the relation between literature, being and perception. I focus especially on two of Merleau-Ponty’s courses at Collège de France:...
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  • La expresión creadora del sentido de la experiencia.M. Carmen López Sáenz - 2015 - Co-herencia 12 (23).
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  • Merleau‐Ponty on Abstract Thought in Mathematics and Natural Science.Samantha Matherne - 2018 - European Journal of Philosophy 26 (2):780-97.
    In this paper, I argue that in spite of suggestions to the contrary, Merleau-Ponty defends a positive account of the kind of abstract thought involved in mathematics and natural science. More specifically, drawing on both the Phenomenology of Perception and his later writings, I show that, for Merleau-Ponty, abstract thought and perception stand in the two-way relation of “foundation,” according to which abstract thought makes what we perceive explicit and determinate, and what we perceive is made to appear by abstract (...)
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  • Anonymity and Personhood: Merleau-Ponty’s Account of the Subject of Perception.Sara Heinämaa - 2015 - Continental Philosophy Review 48 (2):123-142.
    Several commentators have argued that with his concept of anonymity Merleau-Ponty breaks away from classical Husserlian phenomenology that is methodologically tied to the first person perspective. Many contemporary commentators see Merleau-Ponty’s discourse on anonymity as a break away from Husserl’s framework that is seen as hopelessly subjectivistic and solipsistic. Some judge and reproach it as a disastrous misunderstanding that leads to a confusion of philosophical and empirical concerns. Both parties agree that Merleau-Ponty’s concepts of anonymity mark a divergence from classical (...)
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