The present paper argues that Merleau-Ponty’s notion of Flesh/reversibility intellectually is significantly flawed, and leads phenomenology into something of a dead end. This is shown through the following strategy. First Merleau-Ponty’s account of originary perception and his critique of the reflective attitude are expounded. They are shown to culminate in rejection of the subject-object relation as an ontological fundamental in favour of a ‘hyper-reflective method’. A critique of Merleau-Ponty’s position is then offered. It argues that originary perception is not logically (...) prior to reflective thought, and that Merleau-Ponty fails to do justice to the scope of the subject-object relation. Specifically, he overlooks the way in which the relation is the basis of our practical perceptual orientation. It is then shown how this relation actually pervades Merleau-Ponty’s own all-important ‘hyper-reflective’ alternative – the notion of ‘Flesh’. Possible counter-arguments are considered and refuted. The.. (shrink)

In his later works, Merleau-Ponty proposes the notion of ‘the flesh’ (la chair) as a new ‘element’, as he put it, in his ontological monism designed to overcome the legacy of Cartesian dualism with its bifurcation of all things into matter or spirit. Most Merleau-Ponty commentators recognise that Merleau-Ponty's notion of ‘flesh’ is inspired by Edmund Husserl's conceptions of ‘lived body’ (Leib) and ‘vivacity’ or ‘liveliness’ (Leiblichkeit). But it is not always recognised that, for Merleau-Ponty, the constitution of the world (...) of perception, the problem of embodiment or incarnation, is at the very same time one with the problem of the experience of others in what Husserl called Einfühlung or Fremderfahung and indeed one with the problem of the constitution of the commonly shared world ‘for all’. As Merleau-Ponty put it in his late essay ‘The Philosopher and His Shadow’ in Signs, ‘the problem of Einfühlung, like that of my incarnation, opens on the meditation of sensible being, or, if you prefer, it betakes itself there’. In other words, the problem of the apprehension of the other is part of the overall apprehension of the transcendent world. In this paper I want to meditate on the relations between embodiment, experience of others, and experience of the world in Merleau-Ponty's philosophy. I will take particular note, as in the title of this presentation, of the claim made by Merleau-Ponty in The Visible and the Invisible that ‘there is no brute world, only an elaborated world’ (il n'y a pas de monde brut, il n'y a qu'un monde élaboré). (shrink)

This thesis is about meaning, expression and language in Merleau-Ponty’s philosophy, and their role in the phenomenological project as a whole. For Merleau-Ponty, expression is the taking up of a meaning given either in perception or in already acquired forms of expression, thereby repeating, transforming or congealing meaning into gestures, utterances, artworks, ideas or theories. Contrary to the predominant view in the literature, the relation of expression to meaning, and in particular the problem of expressing new meanings, was of fundamental (...) importance to Merleau-Ponty from the very beginning, in that it was intrinsically related to the overcoming of what he termed “objective thought”. Admittedly, there is an evolution of his philosophy in this respect: from the early stance where the recasting of certain basic categories is taken as pivotal for the development of a new form of thinking, with arguments drawn also from various empirical and social sciences, to what appears to be an effort at an all-pervading reformulation of philosophical language during his last years. But the remoulding of categories was never for Merleau-Ponty a matter simply of finding a few, better adapted concepts, but from the outset an endeavour to think philosophical arguments through to a point where they reveal their inherent inconsistencies. Recasting philosophical expression is thus a risky enterprise, and this is a point I explore further in Essay 1, that focuses especially upon creative expression in painting and to some extent in literature. In Essay 2 I discuss the notion of Gestalt and how it serves this general project, whereas Essay 3 deals with verbal language, on the basis of Merleau-Ponty’s reading of Saussure’s linguistics. Essay 4 examines bodily expression from the point of view of feminist phenomenology and in particular Judith Butler’s early reading of Merleau-Ponty, and finally Essay 5 discusses expression in the art of dance. (shrink)

We often think of normal childhood as a progressive development towards a fixed—and often tacitly individualistic and masculine—model of what it is to be an adult. By contrast, phenomenologists, psychoanalysts, sociology of childhood, and feminist thinkers have set out to offer richer accounts both of childhood development and of mature existence. This paper draws on accounts of childhood development from phenomenologist Maurice Merleau-Ponty and object relations theorist D. W. Winnicott in order to argue that childhood development takes place in “transitional (...) spaces”; explores typical gendered patterns in the formation of selfhood that “split” relationality and separateness into the “feminine” and the “masculine”; and offers a phenomenology of perception, love, and objectivity in order to show the manner in which, contra individualistic and masculine visions of adulthood, maturity requires an embrace rather than eschewal of ambiguity, and the capacity to continue to dwell in the transitional space between relatedness and separateness. (shrink)

This essay explores Maurice Merleau-Ponty’s notion of flesh as it applies within the Community of Philosophical Inquiry, the pedagogical method developed by philosopher Matthew Lipman to foster young people’s multidimensional thinking—critical, creative and caring—through collaborative dialogue. Using a phenomenological framework, the essay aims to extend Merleau-Ponty’s conception of chiasmatic relations between self and other by appealing to the account of intersubjective dialogue presented in the work of phenomenologist and CPI scholar David Kennedy. The guiding question focuses on hostility expressed corporeally (...) in dialogue: How might the phenomenological experience of individual inquirers within a CPI be affected by the hostile interventions of body language? The essay introduces the notion of body taunting as the combined “vocabulary” of flesh—gestural, postural, physiognomic, kinetic expression—with which inquirers both deliberately and inadvertently provoke, dismiss, intimidate or alienate one another as they attempt to co-construct meaning. Building on what Kennedy calls “the lived experience of preverbal dialogue”, the essay argues that body taunting poses a threat to the CPI’s emerging intersubjectivity by changing the chiasmatic relations between inquirers, making boundaries between self and other seem more pronounced, notably in moments when disagreement is communicated nonverbally in antagonistic ways that betray or contradict voiced arguments. (shrink)

Donna Haraway's enduring question—“Why should our bodies end at the skin?” —is ever more relevant in the postmodern era, where issues of bodies, boundaries, and technologies increasingly challenge not only the normative performance of the human subject, but also the very understanding of what counts as human. Critical Disability Studies has taken up the problematic of technology, particularly in relation to the deployment of prostheses by people with disabilities. Yet rehabilitation to normative practice or appearance is no longer the point; (...) instead, the lived experience of disability generates its own specific possibilities that both limit and extend the performativity of the embodied self. I look at what is at stake in the challenge to the Western logos that comes specifically from the capacities of the disabled body, understood not as a less than perfect form of the normative, but as figuring difference in a nonbinary sense. Feminist theory has long contested the isomorphism of the logos, but I go beyond simply setting out the grounds for revaluing multiple variant forms. The feminist turn to Jacques Derrida and Gilles Deleuze opens up the problematic to a celebratory positioning of difference and transcorporeality as the very conditions of life. (shrink)

Monstrosity has its recognized place in cultural narratives but in philosophical discourse it remains mostly untouched. In my paper I make an attempt at phenomenological inquiry into the experience of the Other’s monstrous body. I am beginning with some remarks concerning Georges Canguilhem and Michel Foucault, the philosophers who devoted some attention to the problem of monstrosity and the monstrous, but my analysis is mainly based on the works of Bernhard Waldenfels, Edmund Husserl and Maurice Merleau-Ponty. Waldenfels emphasizes that the (...) corporeal self is somehow perceived as alien, always somewhat distanced and not totally graspable. He also argues that the closer the Other, the stronger activation of the boundary between the spheres of the ownness and the alienness is caused. A promising framework for the analysis of the ambivalent reaction brought about by the encounter with a monstrous human body can be provided by Husserl’s phenomenological inquiry into the process of pairing, developed in his Cartesian meditations. It seems that in this experience the pairing process is frustrating and deranged because the process of apperception is disturbed by a cluster of untypical or quite unique characteristics of the monstrous body. In result, its sense remains unclear, puzzling and challenging. Interesting light on the experience of the Other’s monstrous body could shed Merleau-Ponty’s phenomenology, especially the ideas of flesh and chiasm outlined in his last work. The radical character of the monster, while does not render it something totally different from the own, elucidates, however, the contingency of the order under which the human corporeality is subsumed. (shrink)

The Flesh of Images: Merleau-Ponty Between Painting and Cinema, by Mauro Carbone, is his third book in a body of work interpreting Merleau-Ponty’s ontology of Flesh: The Thinking of the Sensible: M...

So when we are balanced between danger and opportunity and the future is unknown, how do we think usefully about the future? … If we imagine ourselves living in the cosmos in which novelty is an il...