Borrowing conceptual tools from Bergson, this essay asks after the shift in the temporality of life from Merleau‐Ponty's Phénoménologie de la perception to his later works. Although the Phénoménologie conceives life in terms of the field of presence of bodily action, later texts point to a life of invisible and immemorial dimensionality. By reconsidering Bergson, but also thereby revising his reading of Husserl, Merleau‐Ponty develops a nonserial theory of time in the later works, one that acknowledges the verticality and irreducibility (...) of the past. Life in the flesh relies on unconsciousness or forgetting, on an invisibility that structures its passage. (shrink)

The overall aim of this paper is to defend the value of the arts as uniquely instructive regarding philosophical questions. Specifically, I aim to achieve two things: firstly, to show that through the phenomenological challenge to dualist and monist ontologies the key debate in aesthetics regarding subjective response and objective judgment is reconfigured and resolved. I argue that Merleau-Ponty’s analyses complement and complete Kant’s project. Secondly, I propose that through Merleau-Ponty’s phenomenological interrogations of the creative process the broader issue of (...) the viability of his relational nondualist ontology is defended against accusations that it has not gone beyond dualism or that it has collapsed into a monism. (shrink)

This paper attempts to clarify Merleau-Ponty’s later work by tracing a hitherto overlooked set of concerns that were of key consequence for the formulation of his ontological research. I argue that his ontology can be understood as a response to a set of problems originating in reflections on the intersubjective use of language in dialogue, undertaken in the early 1950s. His study of dialogue disclosed a structure of meaning-formation and pointed towards a theory of truth (both recurring ontological topics) that (...) post-Phenomenology premises could not account for. A study of dialogue shows that speakers’ positions are interchangeable, that speaking subjects are active and passive in varying degrees, and that the intentional roles of subjects and objects are liable to shift or ‘transgress’ themselves. These observations anticipate the concepts of ‘reversibility’ and ‘narcissism’, his later view of activity and passivity, and his later view of intentionality, and sharpened the need to adopt an intersubjective focus in ontological research. (shrink)

The chiasm is usually considered the key notion for Merleau-Ponty’s later philosophy. I argue against a common conclusion, namely that ‘the chiasm’ is equivalent to ‘reversibility’. Even when the two terms are not taken as interchangeable, the precise nature of their relation has not been adequately established. Focusing exclusively on ‘reversibility’ has implications for a range of philosophical issues, including relations between self and other. The danger of substituting one term for the other is that existential relations are construed as (...) inversions, rather than as genuine exchanges. I examine two trajectories that can be discovered in ‘The Intertwining—The Chiasm’. The first is the inclusion of difference within a peculiar, extended sense of ‘reversibility’. The second is the development of a plurality of expressions, among which ‘reversibility’ is necessary but not sufficient. I go on to argue that Merleau-Ponty secures difference within the chiasm by supplementing the notion of reversibility with ‘imminence’, the idea that something has not yet occurred. I also propose that the figure of a threshold illuminates how the chiasm operates as a transition where both joining and differentiation occur. (shrink)

This study uses new arguments to reinvestigate the relation between aesthetics and politics in the contemporary debates on democratic theory and radical democracy. -/- First, Carl Schmitt and Claude Lefort help delineate the contours of an aesthetico-political understanding of democracy, which is developed further by studying Merleau-Ponty, Rancière, and Arendt. -/- The ideas of Merleau-Ponty serve to establish a general "ontological" framework that aims to contest the dominant currents in contemporary democratic theory. It is argued that Merleau-Ponty, Arendt, and Rancière (...) share a general understanding of the political as the contingently contested spaces and times of appearances. However, the articulation of their thought leads to reconsider and explore under-theorized as well as controversial dimensions of their work. -/- This search for new connections between the political and the aesthetic thought of Arendt and Merleau-Ponty on one hand and the current widespread interest in Rancière's aesthetic politics on the other make this book a unique study that will appeal to anyone who is interested in political theory and contemporary continental philosophy. (shrink)

The general topic of my philosophical dissertation is phenomenological ontology of breathing. I do not investigate the phenomenon of breathing as a natural scientific problem, but as a philosophical question. Within our tradition, breathing has been normally understood as a mechanistic-materialistic physiological life-sustaining process of gas exchange and cellular respiration which does not really seem to have any essential connection to human being’s spiritual, mental or philosophical capacities. On the contrary to this natural scientific view, I argue that breathing can (...) be understood as a philosophical question that has phenomenological, experiential, ontological, spiritual, bodily, mental, poetic, elemental, ethical, voluntary and mystical dimensions. My investigation conceptualizes breathing in the first place as a question of phenomenological ontology. Maurice Merleau-Ponty’s phenomenologico-ontological method of interrogation of the lived body’s experiential openness to the world and Being provides the most fundamental point of departure in this dissertation. Merleau-Ponty emphasized in his investigations the lived body’s perceptual openness to the world and Being. He argued famously for the primacy of perception. His thesis of the primacy of perception means that perception as the perceptual openness to the world and Being is the foundation which is always presupposed by all the other levels of our existence and being-in-the-world. In this dissertation, I challenge this idea of the primacy of perception with Merleau-Ponty’s own remarks about breathing. I argue that in his own remarks about breathing, he implicitly points toward a level which is even more fundamental than the primacy of perception. In this dissertation, this level of our being-in-the-world I call the primacy of breathing. Breathing as the lived body’s respiratory openness to the world and Being is now understood as the foundation which is always presupposed by all the other dimensions of our being-in-the-world. These dimensions are, for example, our theoretical, practical, social and perceptual ways of relating with the world. If the idea of the primacy of breathing is taken seriously, it means that all the questions of philosophy could be rethought, reexamined and re-experienced within the fundamental atmosphere of respiratory openness to the world and Being. In this dissertation, I initially try to rethink philosophy as a new philosophy of breathing. This new philosophy of breathing would be phenomenological ontology of breathing. The bases of this new phenomenological ontology of breathing are Merleau-Ponty’s remarks about breathing. My task is to explicate and interpret them with the help of Merleau- Ponty’s own phenomenological ontology. In my task of beginning philosophy anew as philosophy of breathing or as respiratory philosophy, I will also use the ideas of Martin Heidegger, Gaston Bachelard, Paul Claudel, Luce Irigaray, Edmund Husserl and David Kleinberg-Levin. My dissertation is divided into two main sections. In Section One, I construct within the framework of phenomenological ontology a new notion of breathing as the primacy of breathing. In Section Two, I develop a phenomenological method that I call the method of ontologico-respiratory reduction. This method will lead us back to the primacy of breathing. (shrink)

Resumen El concepto de “quiasmo” es fundamental en la filosofía del “último” Merleau-Ponty. Me interesa retomar este concepto para mostrar que, en la nueva ontología esbozada en Le visible et l’invisible y en las notas de la misma época, su función guarda correspondencia con la tarea que, a lo largo de la historia de la filosofía, ha desempeñado la imaginación. En este sentido, una ontología del quiasmo supone por necesidad pensar una ontología de la imaginación. Además, este concepto permite arrojar (...) una luz nueva sobre el problema de la subjetividad.The concept of “chiasm” is central to the philosophy of the “late” Merleau-Ponty. My aim is to retrieve this concept in order to show that, within the framework of the new ontology outlined in Le visible et l’invisible and the notes written during the same period, its function corresponds to the function that imagination has performed throughout the history of philosophy. Thus, an ontology of chiasm necessarily involves reflecting upon an ontology of imagination. Furthermore, the concept of chiasm enables us to shed new light on the problem of subjectivity. (shrink)

If, as Maurice Merleau-Ponty writes, “True philosophy consists in relearning to look at the world,” and if Merleau-Ponty is accordingly often described as a philosopher of the body or a philosopher of painting, how are we to understand the apparently new turn to music that Merleau Ponty makes toward the end of the final completed chapter, entitled “The Intertwining—The Chiasm,” of The Visible and the Invisible? I argue that the course of the “Chiasm” chapter moves from a concern for the (...) reciprocal intertwining of body and world to a concern for the Ineinander of temporality. Thus, there are two dimensions involved in forming Merleau-Ponty’s chiastic structure of the flesh: the fecundity of the sensible world in the dimension of simultaneity and the transcendence of the subject in the dimension of succession. The aim of this article is to explore the part of this structure that pertains to the temporal movement of transcendental intersubjectivity. Focusing on Merleau-Ponty’s adaptation of Husserl’s term, Ineinander, I trace the musical context of the term from Merleau-Ponty’s course notes, “Philosophie aujourd’hui” to the final passages from the “Chiasm” chapter of The Visible and the Invisible, understanding the Ineinander as it pertains to the relation of past and present. Contrary to the overflowing sense of presence experienced by the body in the world, the Ineinander is characterized by succession—by the écart—and finds its natural expression in the movement of music. Thus, the chiastic structure at the heart of Merleau-Ponty’s philosophy of the flesh expresses not only the immersion of a body in the world that sees; it expresses also, as that which is no longer and that which is to come, a creative, melodic movement of time. (shrink)