This essay discusses the role that creativity played in Maurice Merleau-Ponty's phenomenology of perception and the lived-body as well as in his phenomenology of the social world-- mainly through language. The author identifies three main examples of the philosophical importance that creativity had for Merleau-Ponty: (1) the origin of meaning, (2) the rejection of the Cartesian mind-body dualism, and (3) necessary conditions for human dignity in the relationship of culture and nature. Finally, the last of these examples and the significance (...) of creativity are considered in the light of Merleau-Ponty's last, unfinished work, "The Visible and the Invisible". (shrink)
Heidegger's totally objective view of aesthetic truth, That the meaning of aesthetic experience is revealed only in and through the art-Object, Fails to appreciate the contributions of subjectivity to that meaningfulness. This is shown by pointing out that interpretation of an artwork can be relevant for our aesthetic appreciation and that sometimes subjective factors such as the artist's intentions, And the viewer's personal, Cultural background, Are relevant to interpretation.
Suki is an exciting, yet demanding, program for teaching children how to make the transition from speaking to writing, to encourage them to develop a poetic sensitivity and an appreciation for some main themes in the philosophy of art and even metaphysics. In what follows, I would like to indicate some of the reasons I find the program exciting - besides the fact that it can be successful in accomplishing its objectives - as well as some reasons for believing it (...) difficult to teach - indeed, I believe it is the most difficult in the series of readings published by the Institute for the Advancement of Philosophy for Children. (shrink)