It is a widely held view among scholars and commentators on the works of Jean-Paul Sartre that his corpus can be roughly divided into an early, largely a-political, non-Marxist period, and a later, more overtly political, post-liberation period. InThe Early Sartre and Marxism, Sam Coombes seeks to problematise this interpretation of Sartre’s corpus by undertaking a re-evaluation of a wide array of pre-liberation and early post-liberation writings in order to establish the extent to which views fully consistent with a certain (...) brand of Marxism are already present therein. The later period, he argues, does not so much constitute a break from the early work as a more complete development of certain nascent themes and concerns. There are difficulties inherent in any claim that Sartre’s early work is consonant with Marxism, primarily due to the fundamental incompatibilities between Sartre’s ontological description of liberation as a project of individual freedom and the inherent hostility of interpersonal relations, and Marxism’s requirements of the development of class consciousness and social solidarity for revolutionary action. Nonetheless, the modest claim that through the 1930s and early ’40s themes and ideas are appearing in Sartre’s work that are indeed not abandoned but constitute the basis of Sartre’s later more directly Marxist writings is compelling and may serve to reopen fruitful speculative philosophical dialogue between Sartre’s early existentialism and Marxism. (shrink)

In this essay we investigate several moments in Simone de Beauvoir's philosophical and literary texts in which she refers to echoes and echoing. We notice that echoes help Beauvoir to figure and amplify the ethical character of her concept of ambiguity, which is so central to her thought. We argue that, for Beauvoir, literature has privileged access to the ambiguity of existence and therefore maintains a special status in exposing us to alterity and bringing us face to face with ethical (...) responsibility. Considering her literary portrayals of echoing helps to explain why, despite her life-long philosophical engagement, Beauvoir preferred not to call herself a philosopher. Finally, Beauvoir's phenomenological insight is that in order to carry ethical resonance, the form of a written work must mirror the fundamentally ambiguous or echolalic ontological structure of human existence. (shrink)

This article aims to examine the main tenets of Merleau-Ponty’s political thought. To this end, his early Marxism and his later support for Liberalism are contextualised within Merleau-Ponty’s philosophical work, put into relation and both criticised. The focus of the discussion is shifted onto the role and locus of the political thinker in order to evaluate the scope of a political project such as Marxism might have. It is divided into three sections. The first explores the themes of the philosophy (...) developed until the early 1950s. The two sections that follow aim to critique his later work and to integrate and relate its arguments to earlier writings. (shrink)

Although Merleau-Ponty’s early phenomenology of perception and his essays on art, politics, and language already showed an affinity between the aesthetic phenomena of expression and style and the political and cultural dynamics of society at large, this paper specifically focuses on his late theorizing of the notion of flesh and its relevance to his late understanding of politics and democracy. The emergence of flesh as a concept was contemporary to Merleau-Ponty’s break with Marxism as a philosophical model and with revolutionary (...) dialectics as a political project. It is by showing that such a break was consistently grounded on his theorizing of the being flesh of both the body and of society that this paper shows Merleau-Ponty’s unique contribution to democratic theory and to contemporary political philosophy. In the course of this analysis, it will become clear that in philosophically breaking with the position of a “no that is a yes”—i.e. the model of the revolution, which implies a total negation of the given that becomes a total affirmation of the new order (dictatorship) once in power—he would politically embrace the Weberian “heroic liberalism”—or his “non-communist left”—of parliamentary democracy. (shrink)

THIS PAPER COMPARES THE WORK OF MERLEAU-PONTY WITH THAT OF MARCEL, TO WHOM HE IS SAID TO OWE A MAJOR INTELLECTUAL DEBT. ALTHOUGH THERE ARE APPARENT SIMILARITIES TO BE FOUND IN THEIR WORK, ESPECIALLY IN THEIR CONCEPTS OF "INCARNATION" AND "SITUATION," THERE ARE STRIKING DIVERGENCES IN THEIR VIEWS ABOUT "HISTORY." A STUDY OF THESE POINTS THE WAY TO AN EXPLORATION OF YET MORE FUNDAMENTAL DISAGREEMENTS BETWEEN THEIR SUPERFICIALLY SIMILAR "PHILOSOPHIES OF EXISTENCE.".

Substantively revised entry, 2023. Georg (György) Lukács (1885–1971) was a literary theorist and philosopher who is widely viewed as one of the founders of “Western Marxism” and as a forerunner of 20th-century critical theory. Lukács is best known for his Theory of the Novel (1916) and History and Class Consciousness (1923). In History and Class Consciousness, he laid out a wide-ranging critique of the phenomenon of “reification” in capitalism and formulated a vision of Marxism as a self-conscious transformation of society. (...) This text became a reference point both for critical social theory and for many currents of countercultural thought. Even though his later work did not capture the imagination of the intellectual public to the same extent as his earlier writings, Lukács remained a prolific writer and an influential theorist in his later career and published hundreds of articles on literary theory and aesthetics, not to mention numerous books, including two massive works on aesthetics and ontology. He was also active as a politician in Hungary in both the revolution of 1919 and during the events of 1956. Today, his work remains of philosophical interest not only because it contains the promise of an undogmatic, non-reductionist reformulation of Marxism, but also because it combines a philosophical approach that draws on Neo-Kantianism, Hegel, and Marx with an acute cultural sensitivity and a powerful critique of modern life inspired by Weber’s and Simmel’s sociological analyses of modern rationalization. (shrink)

We develop a new understanding of the historical horizon of event ontology. Within the general area of the philosophy of nature, event ontology is a still emerging field of investigation in search for the ultimate materialist ontology of the world. While event ontology itself will not be explicated in full mathematical details here, our focus is on its conceptual interrelation with the dominant current of Idealism in Western thought approached by us as a problem in the history of ideas. Our (...) presentation is designed to be accessible to a wider audience. We especially highlight the deep connection between event ontology and postmodernism in general, and the post-war French philosophers Althusser, Foucault, Deleuze, and Guattari in particular, who are viewed as main sources for current and future programs of abstract materialism. (shrink)

The underlying assumption of Lukács’ History and Class Consciousness is that “history” can be understood as a unified and meaningful meta-narrative, which can be read along the lines of a realist novel. Although the future is not guaranteed, the present contains “objective possibilities” which can be identified and realized through activist intervention in the world by those who are destined to “make” history, the proletariat. In the intervening century since the Russian Revolution, it has become impossible to read “history” as (...) a singular, triumphalist story leading to human emancipation or identify any one group as its subjective agent. To salvage the revolutionary potential of Lukács’ work, it has been read instead in terms of “fidelity to the Event” by such latter-day Leninists as Alain Badiou and Slavoj Žižek. But their recourse to a meta-historical notion of pre-figuration and future realization is itself no less beholden to a literary or rhetorical device, that of figura, which was traced by Erich Auerbach in originally religious terms. (shrink)

This paper addresses racism from a phenomenological viewpoint. Its main task is, ultimately, to show that racism as a process of “negative socialization” does not amount to a contingent deficiency that simply disappears under the conditions of a fully integrated society. In other words, I suspect that racism does not only indicate a lack of integration, solidarity, responsibility, recognition, etc.; rather, that it is, in its extraordinary negativity, a socially constitutive phenomenon per se . After suggesting phenomenology’s potential to tackle (...) the question of racism, I will focus on the experiential oppressiveness of racism, i.e., the ways in which it affects its victims’ lived experiences, in transforming their habitual ways of life and, finally, their subjectivities. My major thesis is that racism works via both inter-kinaesthetically as well as symbolically inflicted distortions of the victim’s body schema. As such a process of “negative socialization,” racism, however, influences the embodied self-conception of the oppressor, who finds himself compelled to adhere to some kind of invisible norm such as, e.g., “whiteness.”. (shrink)

It may be that the process of socialization is generally thought to depend upon the development of the slave consciousness. It appears that at present the type of indoctrination a child receives when he or she is socialized by parents and teachers is the general way in which a society makes sure it transmits its values from one generation to the next. If this is so, the analysis of the slave consciousness we have been pursuing would fundamentally call into question (...) the benefits that are to be expected from this most pervasive and fundamental social practice. The development of the heteronomous conscience does not simply guarantee that the citizen will comply with the standards of society; it also guarantees that individuals will develop (some to a greater extent than others) such socially disruptive attitudes as a revengeful sense of justice and a psychological predisposition toward envy. Furthermore, given the massive amounts of social inequality and injustice characterizing many contemporary societies, the combination of economic and psychological factors almost guarantees a tacit or explicit level of frustration which will often erupt into violence. This violence is senseless, repeated, and pervasive because it is nothing but the nourishment needed by the slave consciousness to maintain itself in power. Exploitation, murder, rape, war, the nuclear weapons contest, the polarization of groups against each other, etc., are manifestations of a consciousness that always has to outdo itself vis-à-vis the other. As Nietzsche (1966, p. 140) observed, “Thus the will, the liberator, took to hurting; and on all who can suffer, it wreaks revenge for its inability to go backward [to a condition of autonomy].” With the liberation of imagination and memory, and a combined dedication to fighting all forms of social injustice, however, one can begin to transform society in ways that will confirm rather than deny the human aspiration for harmony and freedom. (shrink)

This article seeks to interrogate the intertwining of Truth and reversibility as presented in the unfinished work of Maurice Merleau-Ponty in The Visible and the Invisible. This relation raises three questions regarding the whole of Merleau-Ponty’s philosophy; namely, the status it confers to truth, the place it grants to the ego, and the notion of the “flesh of the world.”.

This paper lays the groundwork for developing a thorough-going phenomenological description of different phenomena of violence such as physical, psychic and structural violence. The overall aim is to provide subject-centered approaches to violence within the social sciences and the humanities with an integrative theoretical framework. To do so, I will draw primarily on the phenomenological accounts of Maurice Merleau-Ponty and Alfred Schutz, and thereby present guiding clues for a phenomenologically grounded theory of violence.

This article elaborates a relational phenomenology of violence. Firstly, it explores the constitution of all sense in its intrinsic relation with our embodiment and intercorporality. Secondly, it shows how this relational conception of sense and constitution paves the path for an integrative understanding of the bodily and symbolic constituents of violence. Thirdly, the author addresses the overall consequences of these reflections, thereby identifying the main characteristics of a relational phenomenology of violence. In the final part, the paper provides an exemplification (...) of the outlined conception with regard to a concrete phenomenon of violence, i.e., slapping, and a concluding reflection upon its overall significance for research on violence. (shrink)

The paper questions an official narrative of Soviet Marxism that had been formulated both by the Bolshevik leaders and the Western European Marxists. It proposes to shift the discussion from a historically constituted understanding of Soviet Marxism as a partisanship of theory to the epistemic conditions of Marxism after the October Revolution. The paper argues that a post-revolutionary Soviet logic assumes that theory should start where Marx ended and that it should act in a Marxist fashion across all conceptual and (...) practical realms. Instead of asking ‘how’, the Soviet thought returns to the old pre-critical question of ‘what is’, and reformulates this ‘what is’ in the Marxist post-critical terms. Constructing a new critical concept of Soviet Marxism, the paper proceeds with the analysis of the post-critical status of knowledge after the revolution and recovers forgotten and repressed epistemological alternatives to orthodox Bolshevism. (shrink)

The concept of depth is central to Merleau-Ponty’s phenomenology and informed not only his philosophy of perception but also his thinking about psychology, art and politics. This article traces the ways the notion of depth appears in Merleau-Ponty’s thinking in these fields, contrasting it with Husserl’s own phenomenological investigations. The article starts with a comparison of the function of perception in Husserl’s phenomenology and then proceeds with an analysis of how the issue of depth reappears in Merleau-Ponty’s phenomenology of perception, (...) phenomenology of art and political philosophy. I argue that while Husserl’s approach to phenomenology led him to analyses of aesthetics stemming from works of art as random examples, and to non-participation in politics, Merleau-Ponty’s phenomenology leads to the opposite approach, inviting concrete criticism in art and active participation in politics. It is argued that Merleau-Ponty’s approach is more philosophically consistent. The choice of particular works of art, and the particular political engagements, can retrospectively clarify the transcendental phenomenological investigations themselves. (shrink)

“Merleau-Ponty on Causality” attempts to reveal Merleau-Ponty’s treatment of causality with respect to the physical, the vital, and the human. The philosophy of causality of both Hume and Mill will be briefly addressed and challenged. Special attention will be paid to Merleau-Ponty’s treatment of causality with respect to human behavior.

Georg (György) Lukács (1885–1971) was a literary theorist and philosopher who is widely viewed as one of the founders of “Western Marxism”. Lukács is best known for his pre-World War II writings in literary theory, aesthetic theory and Marxist philosophy. Today, his most widely read works are the Theory of the Novel of 1916 and History and Class Consciousness of 1923. In History and Class Consciousness, Lukács laid out a wide-ranging critique of the phenomenon of “reification” in capitalism and formulated (...) a vision of Marxism as a self-conscious transformation of society. (shrink)

The meaning of the term ‘dialectic’ is often obscured by its chameleonic multiuse in contemporary theology, and is habitually confused with its sibling concept ‘paradox’. This article narrates dialectic’s theological foundations in the modern dialectical theology school, highlighting in particular Karl Barth’s ‘dialectical’ relationship to dialectic, and dialectical theology’s relationship to paradox. To illuminate and distinguish these concepts further, the article then briefly sketches four varied but conceptually consistent expressions of theological paradox (in Chesterton, Eckhart, Kierkegaard, and Milbank). It is (...) argued that paradox may be exclusively distinguished from dialectical method, yet conceived within a broader dialectical scope. The conclusion offers four primary dialectical modes through which theological polarities interact (including paradox), before briefly reflecting upon the simultaneous essentiality and boundedness of dialectic for theological speech. (shrink)

Through a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly on La Pointe Courte (1954), L'Opéra-Mouffe (1958), The Gleaners and I (2000), and The Beaches of Agnes (2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential-phenomenological approach to her films particularly fruitful. Drawing both directly (...) on the work of Maurice Merleau-Ponty and on some recent film- and feminist-theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy in The Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film-texts. (shrink)

In this re-reading of The Second Sex, the author argues that Beauvoir transgressively employs Sartre’s universal binary categories of Being and Nothingnessin her effort to account for the economic, political, cultural and psychological conditions of women’s situation. In doing so, she challenges Sartre’s theory of radical ontological freedom and concretizes his abstract philosophic voice, thereby avoiding their rationalist and voluntarist implications. Contesting Beauvoir’s feminist critics, who saw her as emotionally and philosophically dependent on Sartre and her work as an amalgam (...) of Sartrean existentialism and feminist insights, the author maintains that Beauvoir had her own independent project – to transform Sartrean existentialism to make it contextually sensitive. Distancing herself from Sartre’s theory of freedom and its valorization of masculine experience and disembodied consciousnesses, Beauvoir’s theory of situational freedom and embodied subjectivity draws her closer to the existentialism of Merleau-Ponty. (shrink)

The relationship of Marxist thought to the phenomena of everyday life and utopia, both separately and in terms of their intersection, is a complex and often ambiguous one. In this article, I seek to trace some of the theoretical filiations of a critical Marxist approach to their convergence (as stemming mainly from a Central European tradition), in order to tease out some of the more significant ambivalences and semantic shifts involved in its theorization. This lineage originates in the work of (...) Karl Marx and Friedrich Engels, then stretches to Georg Lukács and the so-called ‘Gnostic Marxism’ of Walter Benjamin (as mediated by the important figure of Georg Simmel), and culminating most recently in the work of Agnes Heller. Such a Marxist theory is inseparable from a political project that seeks to unveil and critique what it takes to be the debased, routinized and ideological qualities of daily existence under the auspices of modern capitalist society, but also attempts to locate certain emancipatory tendencies within this selfsame terrain, an orientation that can be summed up in the phrase ‘everyday utopianism’. Although there are occasional lapses into dualistic modes of thinking in the work of these writers, the key insight they present to us is the need to overcome the pervasive dichotomy between the everyday/immanent and the utopian/transcendental, of a sort that has bedevilled the work of many other theorists and intellectual traditions. (shrink)