In this thesis I apply Merleau-Ponty's brand of existential phenomenology to the developmental language disorder 'dyslexia'. Developmental dyslexia is marked by an unexpected failure to acquire written language skills, in particularly reading, spelling and aspects of writing, and has primarily been studied by experimental cognitive psychology, physiology, and more recently, the neurosciences. The current explanatory paradigm holds the view that symptoms of dyslexia are caused by deficits in phonological skills, in particularly verbal memory and phoneme awareness. As a means of (...) facilitating previous research, I take a phenomenological approach to the pre-reflective, lived experience of dyslexia by studying the peculiar style of intentional relationships that are developed by dyslexics in linguistic situations. This approach adopts a non-causal, descriptive methodology which attends to the manner in which dyslexics not only have a disrupted experience of the written word, but also a meaningful relationship with language. Using the notion of the 'lived body', I propose that dyslexics are marked by a loosening of body intentionality in linguistic situations, and this is further interpreted as an incohesive sedimentation of skills. I apply these general findings to the topics of spatiality, expression and temporality, and conclude that dyslexics exhibit a different style of being-in-the-world. This difference in style is characterised as an interaction between the propensity to foreclose the transitional and differential structures of perceptual experience, and moreover, the possibility of sustaining a provisional relationship with language through the development of compensatory strategies, the latter of these observations prompting a new line of future qualitative research. (shrink)

While poststructuralist feminist theorists have clarified our understanding of the gendered subject as produced through a matrix of language, culture, and psycho-sexual affects, they have found agency difficult to ground. I argue that this is because in these theories the body has served primarily as an inscribed surface. In response to this surface body, particular to this age, I have turned to Merleau-Ponty's concept of depth which allows us to theorize the agency crucial to feminist politics. While the poststructuralists' rejection (...) of depth is largely due to its roots in Cartesian rationality, depth is much more than this. Rather than allowing for the impossibility of political action, depth means that as bodily moving and acting subjects we are part of Being, and thus part of the questions raised in this age, even if it is a mark of this age that this tends to be forgotten. (shrink)

The everyday experience of someone, or something, getting in one’s face reveals a depth that is the difference between a world that is intrusive and a world that is respectful. This depth, I argue, should be conceived, not in feet and inches, but in terms of violation and honor. I explore three factors that contribute to this depth’s emergence. First, I examine our body’s capacity, at the level of sense experience, for giving the world a figure/ground structure; this structure insures (...) that most of the world we are in constant contact with, nonetheless, keeps its distance as background. I demonstrate the importance of this figure/ground structure to the depth of our world by considering the experience of people with autism; for those with autism, this structure seems to be, if not entirely missing, at least substantially less robust than our own. Next, I examine our body’s ability, at the level of more personal experience, to handle the world; our handling of the world, which rests on the acquisition of specific skills, transforms things that could easily assault us into the usually motionless objects we tend to take for granted. I demonstrate the importance of these skills to the depth of our world by considering the experience of Gregg Mozgalla; until recently, Mozgalla, who has cerebral palsy, could only lurch, rather than walk, through the world. Finally, I draw on the work of the artist Mierle Ukeles to examine the maintenance work that other people, at a broader social level, perform; other’s maintenance work keeps in good condition a world that, by falling into bad condition, could easily intrude on us. (shrink)