Scholarly discussions of Merleau-Ponty’s aesthetics tend to focus on his philosophy of painting. By contrast, comparatively little attention has been paid to his philosophy of literature. However, he also draws significant conclusions from his work on literary expression. As I will argue, these reflections inform at least two important positions of his later thought. First, Merleau-Ponty’s account of “indirect” literary language led him to develop a hybrid view of phenomenological expression, on which expression is both creative and descriptive. Second, a (...) study of literature furnished him with the resources to develop a novel account of phenomenological “essences”, which holds that essences are revisable explanations of first-order experience. Both results have been overlooked by commentators. They demonstrate the systematic import of Merleau-Ponty’s philosophy of literature and language, and amount to a qualified extension of a basic Husserlian position. (shrink)

El presente artículo defiende que las nociones de epojé y de modificación de neutralidad, a pesar de su aparente semejanza, deben mantenerse radicalmente diferenciadas. La razón de fondo es que ambas surgen en el seno de operaciones de la conciencia que son metodológica y jerárquicamente distintas. Para tal efecto, haré una descripción de sus funciones y estructura, de modo que se hagan visibles tanto sus respectivas esferas de aplicación como el alcance operativo de sus procedimientos.

Music theory has to reinvent itself. Century-long paradigms have to be revisited, and recent terminologies and concepts coming from other fields of music have to find room within the traditional frameworks, particularly in connection with electronic music. In this work, I make an attempt at depicting a framework that might turn useful to further advancements in music theory, by representing the relation between electroacoustic and traditional musics within a scenario dominated by the Philosophy of Language. The Philosophy of Language is (...) herein proposed as a possible philosophical asset to counterbalance some limits of Phenomenology, which has dominated the field of electroacoustic music since its appearance. Within this scenario, the work suggests the notions of "mimesis" and "cadence" as two valid terms to help creating a common ground between the two genres, discussing them in detail and proposing new interpretations for both concepts. (shrink)

El presente artículo se propone explorar la relación entre neutralización y conciencia del ‘como si’ en la fenomenología de Husserl, en particular, a partir de su convergencia en las intuiciones de fantasía. Partiendo de una crítica a una línea de interpretación que, en su intento de aproximarse fenomenológicamente a una «conciencia estética», homologa la modificación de neutralidad con la epojé, el artículo busca exponer la función metodológica que cumplen la modalización de la creencia en el proyecto de Ideas I, así (...) como también resaltar la importancia creciente que la fantasía y la conciencia del ‘como si’ irán adquiriendo en el desarrollo posterior de la fenomenología de Husserl. (shrink)