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A clear and comprehensive introduction to the thought of French philosopher Maurice Merleau-Ponty
Buddhist philosophy of Anicca (impermanence), Dukkha (suffering), and
In our time, Ted Toadvine observes, the philosophical question of nature is almost entirely forgotten—obscured in part by a myopic focus on solving "environmental problems" without asking how these problems are framed. But an "environmental crisis," existing as it does in the human world of value and significance, is at heart a philosophical crisis. In this book, Toadvine demonstrates how Maurice Merleau-Ponty’s phenomenology has a special power to address such a crisis—a philosophical power far better suited to the questions than other modern approaches, with their over-reliance on assumptions drawn from the natural sciences. The book examines key moments in the development of Merleau-Ponty’s philosophy of nature while roughly following the historical sequence of his major works. Toadvine begins by setting out an ontology of nature proposed in Merleau-Ponty’s first book, The Structure of Behavior. He takes up the theme of the expressive role of reflection in Phenomenology of Perception, as it negotiates the area between nature’s own "self-unfolding" and human subjectivity. Merleau-Ponty’s notion of "intertwining" and his account of space provide a transition to Toadvine’s study of the philosopher’s later work—in which the concept of "chiasm," the crossing or intertwining of sense and the sensible, forms the key to Merleau-Ponty’s mature ontology—and ultimately to the relationship between humans and nature.
Argues that symbolism is an important and unique element of Merleau-Ponty's phenomenology.
Philosophers and artists consider the relevance of Maurice Merleau-Ponty’s philosophy for understanding art and aesthetic experience. This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty’s aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher’s writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining.
Merleau-Ponty and the Paradoxes of Expression offers a comprehensive reading of the philosophical work of Maurice Merleau-Ponty, a central figure in 20th-century continental philosophy. By establishing that the paradoxical logic of expression is Merleau-Ponty's fundamental philosophical gesture, this book ties together his diverse work on perception, language, aesthetics, politics and history in order to establish the ontological position he was developing at the time of his sudden death in 1961. Donald A. Landes explores the paradoxical logic of expression as it appears in both Merleau-Ponty's explicit reflections on expression and his non-explicit uses of this logic in his philosophical reflection on other topics, and thus establishes a continuity and a trajectory of his thought that allows for his work to be placed into conversation with contemporary developments in continental philosophy. The book offers the reader a key to understanding Merleau-Ponty's subtle methodology and highlights the urgency and relevance of his research into the ontological significance of expression for today's work in art and cultural theory.
Merleau-Ponty’s status as a philosopher of perception is well-established, but his distinctive contributions to the philosophy and phenomenology of language have yet to be fully appreciated. Through detailed, clear, and accessible analyses of Merleau-Ponty’s views of linguistic meaning, expression, and understanding, and by tracing the evolution and development of these views throughout the course of his philosophical career, Merleau-Ponty’s Phenomenology of Language offers a global and comprehensive picture of his engagement with the philosophy of language. This book demonstrates that the phenomenology of language is essential for grasping the meaning and motivations behind some of Merleau-Ponty’s most celebrated philosophical contributions. It argues that his philosophy of language should take on a central role in our appraisal of the development and basic goals of his thought. And it suggests that the success of phenomenology’s return to the ‘things themselves’ must be judged not only by the evidence of intuition, but also by the labour of expression.
Selected essays of Maurice Merleau-Ponty published from 1947 to 1961.
Deleuze's philosophy is usually considered to form a radical break with phenomenology since most of Deleuze's references to phenomenology are so disparaging. With respect to the phenomenology of Merleau-Ponty, however, this claim cannot be made so easily, especially not with respect to Merleau-Ponty's later work. The reason is not that Deleuze himself was less harsh regarding Merleau-Ponty than other phenomenologists - he was not - but that he ignored the fundamental resonances between his thinking and that of the later Merleau-Ponty. These resonances are illustrated by an analysis of how both authors develop a non-representational account of thinking that is based on an immanent and differential ontology. The examination of shared references to Bergson, Proust, Cézanne, Saussure, Simondon and Sartre serves as a touchstone for the aforementioned resonances. This examination also provides a frame of the differences that separate the philosophies of Deleuze and Merleau-Ponty, and it challenges the prevailing view of the academic landscape in France between 1880 and 1960.
Maurice Merleau-Ponty is widely recognized as one of the major figures of twentieth-century philosophy. The recent publication of his lecture courses and posthumous working notes has opened new avenues for both the interpretation of his thought and philosophy in general. These works confirm that, with a surprising premonition, Merleau-Ponty addressed many of the issues that concern philosophy today. With the benefit of this fuller picture of his thought, Merleau-Ponty and Contemporary Philosophy undertakes an assessment of the philosopher's relevance for contemporary thinking. Covering a diverse range of topics, including ontology, epistemology, anthropology, embodiment, animality, politics, language, aesthetics, and art, the editors gather representative voices from North America and Europe, including both Merleau-Ponty specialists and thinkers who have come to the philosopher's work through their own thematic interest.