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  1.  2
    A Sense of Place.William D. Adams - 2019 - Chiasmi International 21:277-288.
    Merleau-Ponty spent the summer of 1960 in the small French village of Le Tholonet writing Eye and Mind. His choice of location was no accident. Le Tholonet was the physical and emotional epicenter of Paul Cezanne’s late painting, the ultimate proving ground of his relentless quest to reveal the truth of landscape in art.It makes perfect sense that Merleau-Ponty wrote Eye and Mind in Le Tholonet. The essay is a philosophical meditation on vision and painting. But it also is a (...)
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  2.  3
    Le Premier Livre de Merleau-Ponty, Un Roman.Emmanuel Alloa - 2019 - Chiasmi International 21:253-268.
    Dans son oeuvre tardive, Merleau-Ponty a souligné les convergences entre une pensée philosophique et une pensée s’exprimant par l’écriture littéraire, considérant que toutes deux répondent à une tâche commune liée à la description du monde. Ses premiers écrits théoriques – Simone de Beauvoir comme Jean-Paul Sartre l’ont souligné – sont quant à eux marqués par une distance plus nette vis-à-vis de la pratique littéraire. Pourtant, bien avant de publier ses premières monographies, Merleau-Ponty est l’auteur d’un livre écrit pour le compte (...)
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  3.  2
    Introduction.Lovisa Andén & Franck Robert - 2019 - Chiasmi International 21:25-28.
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  4.  1
    Introduction.Lovisa Andén & Franck Robert - 2019 - Chiasmi International 21:29-32.
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  5.  1
    Introduzione.Lovisa Andén & Franck Robert - 2019 - Chiasmi International 21:33-36.
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  6.  3
    Compte Rendu de Anna Caterina Dalmasso, Le Corps, C’Est L’Écran. La Philosophie du Visuel de Merleau-Ponty.Charles Bobant - 2019 - Chiasmi International 21:379-388.
    Dans son livre Le corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty, Anna Caterina Dalmasso met en évidence la présence de la pensée merleau-pontienne dans les réflexions contemporaines relevant des visual studies, de la médiologie et des études cinématographiques. Les analyses menées révèlent un Merleau-Ponty à l’origine d’un certain nombre de « tournants » majeurs dans le questionnement, touchant notamment à la conception de l’image et du médium. Enfin, l’une des ambitions – et l’une des réussites – de l’ouvrage (...)
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  7.  2
    Merleau-Ponty Et L’Art.Charles Bobant - 2019 - Chiasmi International 21:337-354.
    Dans ce travail, nous tentons de démontrer que l’interrogation merleau-pontienne sur l’art s’ordonne selon trois mouvements spéculatifs distincts et successifs. Dans les années quarante, l’élaboration d’une phénoménologie de la perception conduit Merleau-Ponty à aborder l’art à partir de l’oeuvre d’art et du sujet percevant qui la reçoit, c’est-à-dire du spectateur. Au début des années cinquante, cette phénoménologie de l’oeuvre d’art et de la perception esthétique fait place à une philosophie de l’expression. Le point de départ du questionnement artistique change : (...)
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  8.  4
    La Surface Obscure.Mauro Carbone - 2019 - Chiasmi International 21:103-115.
    Tout le trajet de la pensée de Merleau-Ponty est traversé – en certains cas de manière plus évidente que d’autres – par ce que je propose de définir comme une idée de la littérature et de la philosophie en tant que dispositifs de vision, pour utiliser une expression qui est née – et ce n’est pas un hasard – dans le domaine des études cinématographiques. Plus précisément, je voudrais montrer que Merleau-Ponty voit la littérature et la philosophie de son époque (...)
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  9.  1
    Le Sensible Est Introuvable... Merleau-Ponty E Il Linguaggio.Giuseppe Crivella - 2019 - Chiasmi International 21:187-205.
    Questo testo si propone di prendere in considerazione il ruolo del linguaggio nella filosofia di Merleau-Ponty. In particolare le nostre analisi si soffermeranno prima su La prose du monde e poi sugli appunti relativi ai romanzi di Claude Simon. In tal modo tenteremo di inquadrare la natura specifica di tale linguaggio indagandone le fonti, esplorandone i limiti e vagliandone in dettaglio le potenzialità.Le propos de ce texte est de prendre en examen le rôle du langage dans la philosophie de Merleau-Ponty. (...)
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  10.  2
    The Tension of Intention.Amy A. Foley - 2019 - Chiasmi International 21:207-223.
    This article examines Maurice Merleau-Ponty’s reference to Franz Kafka’s “The Metamorphosis” and “Investigations of a Dog” in his lecture on gesture and reconciliation, “Man Seen from the Outside.” Given the centrality of gesture in Kafka’s work, this essay considers the connections between the two figures and the likely influence of Kafka on Merleau-Ponty’s concept of gesture and intentionality. It compares their respective philosophies of gesture as they relate to meaning, reliability, silence, music, and intention. Finally, Kafka’s gestural motif of the (...)
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  11.  1
    The Philosopher’s Truth in Fiction.Amy A. Foley & David M. Kleinberg-Levin - 2019 - Chiasmi International 21:75-101.
    This interview with David Kleinberg-Levin, Professor Emeritus in the Department of Philosophy at Northwestern University, concerns his recent trilogy on the promise of happiness in literary language. Kleinberg-Levin discusses the relationship between and among philosophy, phenomenology, and literature. Among others, he addresses questions regarding literature’s ability to offer redemption, its response to suffering and justice, literary gesture, the ethics of narrative logic, and the surface of the text.Cet entretien avec David Kleinberg-Levin, Professeur émérite au département de philosophie de la Northwestern (...)
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  12.  1
    Introduction.Galen A. Johnson - 2019 - Chiasmi International 21:63-65.
  13.  2
    Introduzione.Galen A. Johnson - 2019 - Chiasmi International 21:71-73.
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  14.  1
    Introduction.Galen A. Johnson - 2019 - Chiasmi International 21:67-69.
  15.  1
    Presentazione.Galen A. Johnson - 2019 - Chiasmi International 21:19-22.
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  16.  2
    Présentation.Galen A. Johnson - 2019 - Chiasmi International 21:11-14.
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  17.  5
    Presentation.Galen A. Johnson - 2019 - Chiasmi International 21:15-18.
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  18.  2
    Wild Red: Synesthesia, Deuteranomaly, and Euclidean Color Space.Rawb Leon-Carlyle - 2019 - Chiasmi International 21:355-368.
    In a promising working note to the Visible and Invisible, Merleau-Ponty proposes that we understand Being according to topological space – relations of proximity, distance, and envelopment – and move away from an image of Being based on homogeneous, inert Euclidean space. With reference to treatments of cross-sensory perception, color-blindness, and the concept of quale or qualia, I seek to rehearse this shift from Euclidean to topological Being by illustrating how modern science confines color itself to a Euclidean model of (...)
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  19.  1
    Proust E la Biologia. È Possibile Una Letteratura di Fantasmi?Federico Leoni - 2019 - Chiasmi International 21:135-147.
    Questo articolo riflette sul posto della letteratura nel complesso della ricerca di Merleau-Ponty, assimilando la funzione che essa svolge nell’economia del suo pensiero alla funzione in esso svolta da altre pratiche e saperi come la biologia o la psicoanalisi. Ciascuno di questi discorsi, chiamiamoli così, offrirebbe a Merleau-Ponty un accesso a qualcosa come una comune sostanza fantasmatica, una comune consistenza metamorfica dell’essere, che tanto il biologo quanto il letterato o lo psicoanalista lavorerebbero con le scritture e le categorie loro proprie. (...)
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  20.  1
    Merleau-Ponty’s and Paul Claudel’s Overlapping Expression of Poetic Ontology.Glen A. Mazis - 2019 - Chiasmi International 21:167-185.
    Merleau-Ponty characterizes the poetic or literary use of language as bringing forth of sense as if it is a being that is an interlocutor with its readers. Sense will be explored as interwoven with a deeper imagination that works within the temporality of institution to become more fully manifest. Throughout the essay will be seen the overlap with Claudel’s ontology as expressed in L’Art poetique and Claudel’s approach to language. Why Merleau-Ponty’s articulation of embodiment and perception must culminate in the (...)
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  21.  1
    Extrait. Proust. Une théorie, – et une pratique concordante, – du langage.Maurice Merleau-Ponty - 2019 - Chiasmi International 21:37-43.
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  22.  4
    Excerpt. Proust. A Theory, – and a Concordant Practice, – of Language.Maurice Merleau-Ponty & Rajiv Kaushik - 2019 - Chiasmi International 21:45-51.
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  23.  2
    Estratto. Proust. Una Teoria, – E Una Pratica Concordante, – Del Linguaggio.Maurice Merleau-Ponty & Claudio Rozzoni - 2019 - Chiasmi International 21:53-59.
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  24.  6
    Merleau-Ponty and Mexica Ontology.David Morris - 2019 - Chiasmi International 21:289-303.
    Movement is crucial to Merleau-Ponty’s effort to comprehend sense, meaning as generated within being. This requires a new concept of movement, not as a dislocation within an already determinate space- or time- frame, but as a deeper, more fundamental change that first engenders space and time as determinate contexts in which movement can follow a sensible course. This poses a novel challenge: conceptualizing determinate space and time as contingently arising from a deeper sort of change, which I call templacement. I (...)
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  25.  2
    Introduction.Ann V. Murphy - 2019 - Chiasmi International 21:271-272.
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  26.  1
    Introduction.Ann V. Murphy - 2019 - Chiasmi International 21:273-274.
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  27.  1
    Introduzione.Ann V. Murphy - 2019 - Chiasmi International 21:275-276.
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  28.  4
    Merleau-Ponty, L’Origine de la Géométrie Et la Littérature.Franck Robert - 2019 - Chiasmi International 21:149-165.
    Le commentaire que propose Merleau-Ponty de L’origine de la géométrie de Husserl en 1960 accorde une place privilégiée au langage, à l’écrit : l’étonnement peut être grand de voir Merleau-Ponty, dans la continuité de Husserl, penser la genèse de l’idéalité géométrique à partir d’une méditation sur la littérature. La réflexion de Merleau-Ponty sur la littérature a pris un tour ontologique décisif au début des années cinquante, dans le long commentaire de Proust notamment en 1953-1954. C’est dans cet esprit que le (...)
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  29.  1
    Eliciting Deviation.Daniel Rosenberg - 2019 - Chiasmi International 21:225-238.
    In his discussions on literature, Merleau-Ponty often turns to the notion of deviation as a constitutive principle of literary language. Deviation indicates the capacity of a literary work to transgress against its own limits and to offer an experience of otherness, or alterity. This alterity is not given in the work, but is constituted by the recipient through the more visceral and physical aspects of literary language. The recipient of the work thus adopts a second voice: that of the author (...)
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  30.  1
    Recensione Ad “Aut Aut”, Numero 381, “Sartre/Merleau-Ponty. Un Dissidio Produttivo”.Matteo Segatto - 2019 - Chiasmi International 21:389-393.
    Hanno ancora qualcosa da dirci Sartre e Merleau-Ponty oggi? Sessant’anni dopo i loro “contraccolpi” – consumatisi nella redazione di una rivista come “Les Temps Modernes” – vale ancora la pena di ripercorrere quella storia? È questa la domanda che apre l’ultimo numero di “aut aut” curato da Enrica Lisciani-Petrini e Raoul Kirchmayr. Si tratta di una domanda a cui è difficile rispondere e che ha a che fare con che cos’è la filosofia e – soprattutto – che cos’è un filosofo. (...)
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  31.  1
    Entrando Al Cinema. Il Ritmo Come Segreto Del Mondo.Gianluca Solla - 2019 - Chiasmi International 21:239-251.
    Nella conferenza su Le cinéma et la nouvelle psychologie Merleau-Ponty introduce una singolare, ma decisiva notazione sull’arte filmica, legandola alla nozione di “ritmo”. Tale nozione dà avvio a una riflessione sull’immagine e sul rapporto tra l’immagine e lo sguardo dello spettatore al cinema. Nel presente articolo, l’uso che Merleau-Ponty ne fa e il senso di questa operazione saranno letti in riferimento alla riflessione di Émile Benveniste sul ritmo e ad alcune annotazioni contenute nei corsi di Merleau-Ponty al Collège de France, (...)
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  32.  2
    L’Animisme de Merleau-Ponty Et Guattari. Une Critique de La Machine Sensible de Stefan Kristensen.Judith Wambacq - 2019 - Chiasmi International 21:371-377.
    Avec son livre La machine sensible, Stefan Kristensen réalise, de façon magistrale, deux objectifs. D’abord, il met en lien la pensée de deux philosophes qui sont à première vue très éloignés l’un de l’autre. Il s’agit de Félix Guattari et de Maurice Merleau-Ponty. Traditionnellement, Merleau-Ponty est considéré comme le philosophe du corps, tandis que Guattari est connu comme le philosophe du corps sans organes. Merleau-Ponty est un phénoménologue, tandis que Guattari prétend abandonner le point de vue du sujet. Kristensen démontre (...)
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  33.  4
    Proust’s Disenchantments, the “Repoetization” of Experience, and the Lineaments of the Visible.Stephen H. Watson - 2019 - Chiasmi International 21:117-134.
    This paper investigates the role of literature and, in particular, Proust in Merleau-Ponty’s late works’ rehabilitation of the ontology of the sensible. First, I trace Proust’s role in Phenomenology of Percpetion, contrasting it with the somewhat more paradigmatic status as a model it plays in the late works. Second, I compare this with the role of the novel as partial myth in Schelling, who also played an essential role in Merleau-Ponty’s refiguration of the sensible. I briefly trace his examination of (...)
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  34.  5
    From the Body Schema to the Historical-Racial Schema.Shiloh Whitney - 2019 - Chiasmi International 21:305-320.
    What resources does Merleau-Ponty’s account of the body schema offer to the Fanonian one? First I show that Merleau-Ponty’s theory of the body schema is already a theory of affect: one that does not oppose affects to intentionality, positioning them not only as sense but as force, cultivating affective agencies rather than constituting static sense content. Then I argue that by foregrounding the role of affect in both thinkers, we can understand the way in which the historical-racial schema innovates, anticipating (...)
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  35.  2
    On the Place of Resistance in Ontology.Jay Worthy - 2019 - Chiasmi International 21:321-334.
    Beginning with Fanon’s challenge to the universality of the project of ontology, this paper considers whether and how Merleau-Ponty’s early and late thinking may yield a response. From the outset, Merleau-Ponty’s appeal to the materiality of the body is intended as a limit on the scope of ontology. As I argue, however, Merleau-Ponty’s early concept of ‘one’s own body’ suggests an “ontological equality” that would be shared among all embodied beings; implicitly, this early approach risks reinforcing Fanon’s concern that ontology (...)
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