Continental Philosophy Review 46 (1):75-97 (2013)

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
Keywords Merleau-Ponty  Sartre  Image  Ontology  Phenomenology  Philosophy of art
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DOI 10.1007/s11007-013-9249-x
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References found in this work BETA

Le visible et l'invisible.Maurice Merleau-Ponty - 1964 - Paris, France: Gallimard.
Phénoménologie de la Perception.M. Merleau-Ponty - 1949 - Revista Portuguesa de Filosofia 5 (4):466-466.
The Principles of Art.R. G. Collingwood - 1938 - New York: Oxford University Press.
Signes.Maurice Merleau-Ponty - 2018 - Chiasmi International 20:229-229.

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Citations of this work BETA

La fenomenología de la percepción en Spinoza.Zachary Hugo - 2018 - Revista de Filosofía 74:91-108.
Notice Board.David Johnston & Adrian van den Hoven - 2013 - Sartre Studies International 19 (2):132-147.

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