Abstract

In this article I focus on a specific knot in the articulated and, as Paul Ricœur famously said, “heretical” constellation of French phenomenology. The aim is to account for a transition that appears to be particularly interesting from both a theoretical and a historical point of view: that from Maurice Merleau-Ponty’s and Mikel Dufrenne’s recasting and overcoming the lifeworld in terms of all-encompassing and more originary conceptions of Being and Nature during the 1950s and the 1960s, to the radical transgression of the phenomenological horizon itself accomplished by their disciple Jean-François Lyotard between the 1950s and the 1970s. As I will argue, far from being simply sidelined, in Lyotard the theme of the lifeworld is instead deconstructed in favor of a dramatic and “scattered” picture of the shattering impact of capitalism and modern technologies on our daily experience. Within this context, art and aesthetic experience become a privileged site of exploration and experimentation.