Dimitris Apostolopoulos
Nanyang Technological University, Singapore
Scholarly discussions of Merleau-Ponty’s aesthetics tend to focus on his philosophy of painting. By contrast, comparatively little attention has been paid to his philosophy of literature. However, he also draws significant conclusions from his work on literary expression. As I will argue, these reflections inform at least two important positions of his later thought. First, Merleau-Ponty’s account of “indirect” literary language led him to develop a hybrid view of phenomenological expression, on which expression is both creative and descriptive. Second, a study of literature furnished him with the resources to develop a novel account of phenomenological “essences”, which holds that essences are revisable explanations of first-order experience. Both results have been overlooked by commentators. They demonstrate the systematic import of Merleau-Ponty’s philosophy of literature and language, and amount to a qualified extension of a basic Husserlian position.
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Reprint years 2017, 2018
DOI 10.1080/00071773.2017.1387683
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References found in this work BETA

Signs.Maurice Merleau-Ponty - 2018 - Chiasmi International 20:231-231.
The Visible and the Invisible.B. Falk - 1970 - Philosophical Quarterly 20 (80):278-279.
Phenomenologie de la Perception.Aron Gurwitsch - 1950 - Philosophy and Phenomenological Research 10 (3):442-445.
Cézanne's Doubt.Maurice Merleau-Ponty - 1964 - In Sense and Non-Sense. Northwestern University Press. pp. 1-25.
.Taylor Carman & Mark B. N. Hansen - 2005 - Cambridge University Presscarman, Taylor.

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Literature and the Expressions of Being in Merleau-Ponty’s Unpublished Course Notes.Lovisa Andén - 2019 - Journal of the British Society for Phenomenology 50 (3):208-219.

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