Phenomenological, process-based and post-Marxist approaches have stressed the immanent nature of the ontogenesis of our world. The concept of performativity epitomizes these temporal, spatial and material views. Reality is always in movement itself: it is constantly materially and socially ‘performed’. Other views lead to a pre-defined world that would be mostly revealed through sensations (i.e. ‘representational perspectives’). These transcendental stances assume that a subject, although pre-existing experience, is the absolute condition of possibility of it. In this paper, we develop another (...) view of performativity (either complementary or interrelated to an immanent stance), one that re-introduces transcendence in the analysis but sees in it something dialogical to the process itself. We draw from the notions of visibility-invisibility and continuity-discontinuity (Merleau-Ponty 1945/2013, 1964) in order to show how everyday activity both performs and makes visible the world. From that perspective, modes of visibility appear as conditions of possibility of performativity itself. We draw some implications for the conceptualization of management practices. (shrink)

Examines the lived experience of social encounters drawing on phenomenological insights.

This article approaches Ovid’s story of Echo and Narcissus in the Metamorphoses through some of Maurice Merleau-Ponty’s writings on expression and speech. Echo’s speech as portrayed by Ovid clearly illustrates how Merleau-Ponty describes speech in Phenomenology of Perception as a “paradoxical operation” through which we use words with already given sense and in that very process both stabilize and alter established meaning. Instead of reducing Echo to a moment of the identity and fate of Narcissus, I bring out Echo’s own (...) voice and the expression of her subjectivity through creative repetition. The short dialogue between Echo and Narcissus makes manifest that Echo’s words cannot be reduced to a simple repetition of a clear and distinct original. Rather, her speech emerges in relation to an original that is only made present as an original of a repetition in that very repetition. Echo’s voice is disruption of the words she repeats and each repetition is also its own origin. Echo’s own voice is only made present when we listen to it as something other than a simple repetition of the voice of Narcissus. The fragments she returns through her echo, lose their fragmented character through modifying and altering their already given meaning. What Echo lacks is not primarily a voice of her own but rather an unbound origin which by itself remains mute and thereby runs the risk of not expressing anything at all. Echo is repetition but it is precisely as repetition that she is also originating speech. (shrink)

Este trabajo presenta la teoría merleau-pontyana de la sexualidad contenida en su _Phénoménologie de la perception_, primeramente en el contexto de otros tempranos abordajes fenomenológicos de la misma cuestión y luego dentro del marco gnoseológico de la obra. A continuación, se evalúa el alcance de las primeras críticas que J. Butler realizó a tal teoría en términos de androcentrismo, naturalización de la diferencia sexual y de la dominación masculina. Se deslindan así los recursos y los límites que comporta la descripción (...) merleau-pontyana del cuerpo sexuado como “expresión” y “estilo corporal” para la elaboración de una concepción no esencialista de la sexualidad afín a la teoría performativa. (shrink)