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  1. Embodied higher cognition: insights from Merleau-Ponty’s interpretation of motor intentionality.Jan Halák - 2023 - Phenomenology and the Cognitive Sciences 22 (2):369-397.
    This paper clarifies Merleau-Ponty’s original account of “higher-order” cognition as fundamentally embodied and enacted. Merleau-Ponty’s philosophy inspired theories that deemphasize overlaps between conceptual knowledge and motor intentionality or, on the contrary, focus exclusively on abstract thought. In contrast, this paper explores the link between Merleau-Ponty’s account of motor intentionality and his interpretations of our capacity to understand and interact productively with cultural symbolic systems. I develop my interpretation based on Merleau-Ponty’s analysis of two neuropathological modifications of motor intentionality, the case (...)
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  • (1 other version)La corporalidad responsiva desde la fenomenología merleaupontyana y su expresión en la pintura.Graciela Ralón de Walton - 2018 - Eidos: Revista de Filosofía de la Universidad Del Norte 28:19-32.
    Resumen: Siguiendo la inspiración de Merleau-Ponty, B. Waldenfels se ocupa de la corporalidad y pone énfasis en su dimensión responsiva, es decir, en modos de comportamiento y experiencia corporales que responden a interpelaciones de lo extraño. Desde esta perspectiva, este trabajo aspira a elucidar el entrelazamiento cuerpo-Naturaleza con la intención de mostrar que la Naturaleza entendida como otro aspecto del hombre implica una alteridad que no se reduce ni a la lógica de la intencionalidad ni a la lógica de la (...)
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  • From the Body to the Melody: “Relearning” the Experience of Time in the Later Merleau-Ponty.Jessica Wiskus - 2018 - Avant: Trends in Interdisciplinary Studies 9 (2):129-140.
    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 (...)
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  • Merleau-Ponty on Embodied Subjectivity from the Perspective of Subject-Object Circularity.Jan Halák - 2016 - Acta Universtitatis Carolinae Kinanthropologica 52 (2):26-40.
    The phenomenological point of view of the body is usually appreciated for having introduced the notion of the ‘lived’ body. We cannot merely analyze and explain the body as one of the elements of the world of objects. We must also describe it, for example, as the center of our perspective on the world, the place where our sensing is ‘localized’, the agens which directly executes our intentions. However, in Husserl, the idea of the body as lived primarily complements his (...)
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  • The reversibility which is the ultimate truth.Jacob Rogozinski - 2016 - Continental Philosophy Review 49 (4):469-483.
    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.”.
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  • Aesthetic movements of embodied minds: between Merleau-Ponty and Deleuze.Kasper Levin - 2016 - Continental Philosophy Review 49 (2):181-202.
    Animating Maurice Merleau-Ponty’s phenomenological idea of the body as a pre-reflective organizing principle in perception, consciousness and language has become a productive and popular endeavor within philosophy of mind during the last two decades. In this context Merleau-Ponty’s descriptions of an embodied mind has played a central role in the attempts to naturalize phenomenological insights in relation to cognitive science and neuropsychological research. In this dialogue the central role of art and aesthetics in phenomenology has been neglected or at best (...)
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  • (1 other version)Responsive Embodiment Seen from Merleau-Ponty´s Phenomenology and its Expression in Painting.Graciela Ralón de Walton - 2018 - Eidos: Revista de Filosofía de la Universidad Del Norte 28:19-32.
    Following Merleau-Ponty´s inspiration, B. Waldenfels deals with embodiment emphasizing its responsive dimension, i.e., modes of bodily behavior and experience that respond to interpellations of the strange. From this view, the article aims to ex­plaining the intertwining of body and nature with the intention of showing that nature, understood as another side of human being, implies an alterity that cannot be reduced to the logic of intentionality nor to the logic of communication. The interpellation that arises from Nature has, on the (...)
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