Philosophie et sciences: voila un theme difficile, central, de notre temps, ou il est necessairement question de son sens. C'est ce sens qu'interrogent, d'une facon a la fois historique et problematique, les essais du present volume. J. Merleau-Ponty questionne les rapports entre sciences et vulgarisation scientifique. J. Ladriere pose le probleme de La normativite de la pensee scientifique. J. Lambert met en evidence le probleme du Livre de la Nature chez Galilee et Kepler. P. Kerszberg confronte les structures internes (...) de la philosophie critique kantienne et de la theorie de la relativite sur la question cosmologique. M. Richir analyse L'illusion transcendantale dans la theorie cantorienne des ensembles. B. d'Espagnat et G. Hottois evoquent le problemes des rapports difficiles, aujourd'hui, entre science et philosophie. (shrink)

Dans Folioplus philosophie, le texte philosophique, associé une oeuvre d'art qui l'éclaire et le questionne, est suivi d'un dossier organisé en six points :Les mots du texte : Corps, entrelacs (chiasme), chair ; L'œuvre dans l'histoire des idées ; La figure du philosophe ; Trois questions posées au texte : Y a-t-il une chair de l'image? L'accès à l'être implique-t-il la neutralisation du sensible? Y a-t-il une chair de l'histoire? ; Groupement de textes : L'écriture et l'image: l'existence, la mort (...) ; Prolongements. (shrink)

Merleau-Ponty’s relation to Husserl has been understood along a spectrum running from outright repudiation to deep appreciation. The aim of this paper is to clarify a significant and heretofore largely neglected unifying thread connecting Husserl and Merleau-Ponty, while also demonstrating its general philosophical import for phenomenological philosophy. On this account, the details of a programmatic philosophical continuity between these two phenomenologists can be structured around the concept of motivation. Merleau-Ponty sees in Husserl’s concept of motivation a necessary (...) and innovative concept that we must formulate in order to properly theorize the anonymous and passive functioning of “operative intentionality.” Motivation is the principle that bridges this domain with the egoic life of consciousness. Merleau-Ponty’s focus on anonymity, bodily habit, and other facets of operative intentionality are thus not a repudiation of Husserl’s analyses of intentionality, but rather a deepening of the notion of consciousness. I conclude by showing how Merleau-Ponty’s early work on motivation lays the conceptual groundwork for his later rethinking of intentionality in terms of institution, and thus mature ontology of the flesh. (shrink)

Perhaps no concept is more central to maurice merleau-ponty's philosophy than his concept of depth. not only did merleau-ponty recognize the philosophical significance of depth for articulating a phenomenology of perception, but he saw it as essential for pursuing and expressing a novel, radical ontology. depth, merleau-ponty writes, is ``the most existential dimension,'' ``the dimension of dimensions''; it is the ``sine qua non'' of the world and being. let me elucidate merleau-ponty's radical concept of depth by (...) ``addressing'' the salient contexts in which he approached this notion. in the first part of this paper, i shall examine depth in the experience of perception and schizophrenia. in the second, i shall discuss depth as descriptive of an ontology of ``flesh'' and as the guiding theme for the philosophical enterprise. (shrink)

The work which this author planned to call The Prose of the World, or Introduction to the Prose of the World, is unfinished.

On the face of it, Maurice Merleau-Ponty’s views bear a strong resemblance to contemporary disjunctivist theories of perception, especially John McDowell’s epistemological disjunctivism. Like McDowell (and other disjunctivists), Merleau-Ponty seems to be a direct realist about perception and holds that veridical and illusory perceptions are distinct. This paper furthers this comparison. Furthermore, it is argued that elements of Merleau-Ponty’s thought provide a stronger case for McDowell’s kind of epistemological view than McDowell himself provides. Merleau-Ponty’s early thought (...) can be used to develop a unique version of epistemological disjunctivism that is worth consideration alongside contemporary views on perceptual knowledge. (shrink)

Hubert Dreyfus has recently invoked the work of Maurice Merleau‐Ponty in criticizing the ‘Myth of the Mental’. In criticizing that supposed myth, Dreyfus argues for a kind of foundationalism that takes embodied coping to be a self‐sufficient layer of human experience that supports our ‘higher’ mental activities. In turn, Merleau‐Ponty’s phenomenology is found, in Dreyfus’s recent writings, to corroborate this foundationalism. While Merleau‐Ponty would agree with many of Dreyfus’s points, this paper argues that he would not, in (...) fact, agree with the foundationalism. Furthermore, when understood in the right way, Merleau‐Ponty’s early phenomenology supports the idea, opposed to Dreyfus’s foundationalism, that conceptual activities are tied up with our coping activities. The paper ends by considering the upshot of this reading of Merleau‐Ponty’s work for Dreyfus’s phenomenology. (shrink)

We take ourselves to have an inner life of thought, and we take ourselves to be capable of linguistically expressing our thoughts to others. But what is the nature of this “inner life” of thought? Is conscious thought necessarily carried out in language? This paper takes up these questions by examining Merleau-Ponty’s theory of expression. For Merleau-Ponty, language expresses thought. Thus it would seem that thought must be independent of, and in some sense prior to, the speech that (...) expresses it. He also claims, however, that thinking just is linguistic expression, and thus that language constitutes thought. The primary aim of this paper is to make sense of this constitutive claim while maintaining that, for Merleau-Ponty, there is an inner life of thought that exists independently of linguistic expression, and that this inner life rightly deserves the label “thought”. The upshot of this account is twofold. First, it explains why the mainstream view of Merleau-Ponty’s theory of expression seems plausible, but is ultimately inadequate. Second, it functions as a corrective to contemporary debates about the nature and scope of phenomenal consciousness and the sense in which conscious experience has content. (shrink)

This book contains the unfinished manuscript and working notes of the book Merleau-Ponty was writing when he died.

The aim of this article is to demonstrate that a certain connection between 'seeing'and 'Being' can be traced within the later work of Merleau-Ponty. It is argued that a theory of seeing which is developed from a radical phenomenological point of view is nota confirmation, but rather a critique of Western representational ontology. The centralprinciple of this critique is formed by the notion of reversibility. By means of the reversible relation between the seer and the seen, and between the (...) visible and the invisible — which is situated within seeing itself —, the traditional opposition between subject and object is abolished and 'Being' loses its alleged meaning of 'presence' and 'unity'. One could say that the meaning of 'seeing' evades the (traditional) philosophicaldiscourse. Therefore, philosophy should consult the practice of the artist, particularly painting. Merleau-Ponty's analysis of painting embodies a profound critique of representational thought, yet at the same time, it shows that this kind of critique does not reject every form of 'giving meaning' or intentionality. The work of art is simultaneously a (bodily) expression and the revelation of the meaning of Being itself. The fission of Being, the elusive visibility, reveals itself in a painting, which could only be made because the painter put into service his or her aesthetic body. (shrink)

At the time of his death in May 1961, Maurice Merleau-Ponty held the chair of Philosophy at the College de France. Together with Jean-Paul Sartre and Simone de Beauvoir, he was cofounder of the successful and influential review Les Temps Modernes. However, after Merleau-Ponty's two studies of Marxist theory and practice (Humanisme et Terreur and Les Aventures de la Dialectique), he alienated both orthodox Marxists and "mandarins of the left" such as Sartre and de Beauvoir. Perhaps his most (...) lasting contribution to the interpretation of human existence was his formulation of a positive philosophical approach to psychology the foundations of which were clearly outlined in The Structure of Behavior and later more fully developed in Phenomenology of Perception. (shrink)

First published in 1945, Maurice Merleau-Ponty’s monumental _Phénoménologie de la perception _signalled the arrival of a major new philosophical and intellectual voice in post-war Europe. Breaking with the prevailing picture of existentialism and phenomenology at the time, it has become one of the landmark works of twentieth-century thought. This new translation, the first for over fifty years, makes this classic work of philosophy available to a new generation of readers. _Phenomenology of Perception _stands in the great phenomenological tradition of (...) Husserl, Heidegger, and Sartre. Yet Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and "intellectualism" on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world. Merleau-Ponty enriches his classic work with engaging studies of famous cases in the history of psychology and neurology as well as phenomena that continue to draw our attention, such as phantom limb syndrome, synaesthesia, and hallucination. This new translation includes many helpful features such as the reintroduction of Merleau-Ponty’s discursive Table of Contents as subtitles into the body of the text, a comprehensive Translator’s Introduction to its main themes, essential notes explaining key terms of translation, an extensive Index, and an important updating of Merleau-Ponty’s references to now available English translations. Also included is a new foreword by Taylor Carman and an introduction to Merleau-Ponty_ _by Claude Lefort. Translated by Donald A. Landes. (shrink)

_Leading scholars engage the later contributions of Maurice Merleau-Ponty._.

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the body to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others.

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the _body_ to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others. Perhaps above (...) all, Merleau-Ponty's insights about the embodied mind are a bold and refreshing challenge to the new era of virtual reality and artificial intelligence, as scientists and psychologists discover the centrality of the body to mind and intelligence. (shrink)

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the body to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others.

El artículo comienza con una breve referencia a la introducción de la fenomenología de Merleau-Ponty en la Argentina. Se consideran primero las contribuciones de Luis M. Ravagnan y Carlos L. Ceriotto para pasar luego a un examen de las referencias efectuadas por Luis Juan Guerrero en su _Estética_. En relación con la estética de las manifestaciones artísticas se pone énfasis en la noción merleau-pontyana de lenguaje indirecto y en la significación de las voces del silencio. En lo que (...) concierne a la estética de las potencias artísticas se pone el acento en la experiencia no-objetiva de convivencia en la comprensión mutua, a fin de dar cuenta de la respuesta del artista al llamado de la tradición cultural y de la respuesta del espectador al llamado de la obra de arte. Finalmente, respecto del problema de las tareas artísticas, la atención se focaliza en el análisis que Guerrero, nuevamente siguiendo a Merleau-Ponty, ofrece sobre las fiestas cuyo rasgo distintivo es ser el gran juego de pueblos históricos y el lugar originario de reunión de todas sus tareas artísticas. (shrink)

What makes this work so important is that it returned the body to the forefront of philosophy for the first time since Plato.

This article reads Maurice Merleau-Ponty's ontology of the “flesh of the world” alongside the ontology that seems to undergird Frantz Fanon's sociodiagnostics as well as his theory of sociogeny. It argues that reading Fanonian sociogeny in terms of the ambiguity and intercorporeality of the flesh of the world renders the ethical and political imperatives of Fanon's decolonial project all the more pressing, since the “new human” is prefigured—if not totally determined—in the national consciousness obtained by “les damnés” through the (...) decolonization process. It then examines how Sylvia Wynter's Fanonian call to (re)fashion the future of humanness through (re)conceptualizing “being human as praxis,” also seems to rely on this ontology of the flesh of the world. Bringing these arguments together, the article suggests that the conceptual content of the new human can be found in the liberation struggles of les damnés across what Wynter calls the “poverty archipelagos” wrought by colonial humanism. Hence, the “new skin” for which Fanon calls is fashioned through forming international solidarity with les damnés, with the conceptual content of the new humanism emerging sociogenically—and autopoetically—from those struggles themselves. (shrink)