This book contains the unfinished manuscript and working notes of the book Merleau-Ponty was writing when he died.

The first study of its kind to appear in English, The Phenomenology of Merleau-Ponty is a sustained ontological reading of Merleau-Ponty which traces the evolution of his philosophy of being from his early work to his late, unfinished manuscripts and working notes. Merleau-Ponty, who contributed greatly to the theoretical foundations of hermeneutics, is here approached hermeneutically. Most commentators are agreed that towards the end Merleau-Ponty's philosophy underwent a strange and interesting mutation. The exact nature of this mutation or conceptual shift (...) is what this study seeks to disclose. Thus, although Madison proceeds in a generally progressive, chronological fashion, examining Merleau-Ponty's major works in the order of their composition, his reading is ultmately regressive in that Merleau-Ponty's earlier works are viewed in the light of the new and enigmatic ontological orientation which makes its appearance in his later work. The merit of this approach is that, as Paul Ricoeur has remarked, it enables the author to expose the "anticipatory, hollowed-out presence" of Merleau-Ponty's late philosophy "in the difficulties of his early phenomenology," such that "the unifying intention between his first philosophy of meaning and the body and the late, more ontological philosophy is made manifest." This book begins with a detailed study of Merleau-Ponty's two major early works, The Structure of BehaviorThe Phenomenology of Perception. In the following three chapters, Madison traces the development of Merleau-Ponty's thought from the beginning to the end of his philosophical career in regard to three topics of special concern to the French phenomenologist: painting, language, philosophy. In the final chapter, he is concerned to articulate, as much as the unfinished state of Merleau-Ponty's final work allows, the unspoken thought of this work and of The Visible and Invisible in particular. Merleau-Ponty's notion of "wild being" and his attempt to work out an "indirect" or "negative" ontology are thoroughly analyzed. In the end the reader will see that through his self-criticism and the development in his own phenomenology Merleau-Ponty has brought phenomenology itself to its limits and to the point where it must transcend itself as a philosophy of consciousness in the Husserlian sense if it is to remain faithful to Husserl's own goal of bringing "experience to the full expression of its own meaning." Because Madison submits Merleau-Ponty to the same kind of interpretive retrieval as the latter did with Husserl, Roger Cailloise has said of this "clear and very complete book" that it "goes will beyond a simple exposition and merits being read as an original work.". (shrink)

In our time, Ted Toadvine observes, the philosophical question of nature is almost entirely forgotten—obscured in part by a myopic focus on solving "environmental problems" without asking how these problems are framed. But an "environmental crisis," existing as it does in the human world of value and significance, is at heart a philosophical crisis. In this book, Toadvine demonstrates how Maurice Merleau-Ponty’s phenomenology has a special power to address such a crisis—a philosophical power far better suited to the questions than (...) other modern approaches, with their over-reliance on assumptions drawn from the natural sciences. The book examines key moments in the development of Merleau-Ponty’s philosophy of nature while roughly following the historical sequence of his major works. Toadvine begins by setting out an ontology of nature proposed in Merleau-Ponty’s first book, _The Structure of Behavior. _He takes up the theme of the expressive role of reflection in _Phenomenology of Perception, _as it negotiates the area between nature’s own "self-unfolding" and human subjectivity. Merleau-Ponty’s notion of "intertwining" and his account of space provide a transition to Toadvine’s study of the philosopher’s later work—in which the concept of "chiasm," the crossing or intertwining of sense and the sensible, forms the key to Merleau-Ponty’s mature ontology—and ultimately to the relationship between humans and nature. (shrink)

The Being of the Phenomenon opens European post-structuralism to further study and is certain to inspire new thinking about the origins of Merleau-Ponty’s phenomenology.

Through a close reading of Judith Butler's 1989 essay on Merleau-Ponty's “theory” of sexuality as well as the texts her argument hinges on, this paper addresses the debate about the relation between language and the living, gendered body as it is understood by defenders of poststructural theory on the one hand, and different interpretations of Merleau-Ponty's phenomenology on the other. I claim that Butler, in her criticism of the French philosopher's analysis of the famous “Schneider case,” does not take its (...) wider context into account: either the case study that Merleau-Ponty's discussion is based upon, or its role in his phenomenology of perception. Yet, although Butler does point out certain blind spots in his descriptions regarding the gendered body, it is in the light of her questioning that the true radicality of Merleau-Ponty's ideas can be revealed. A further task for feminist phenomenology should be a thorough assessment of his philosophy from this angle, once the most obvious misunderstandings have been put to the side. (shrink)

This book consists of Northwestern University Studies in Phenomenology and Existential Philosophy.

Dans une lettre, Merleau-Ponty décrit ainsi l'intention qu'il a développée dans cet ouvrage, écrit pour l'essentiel en 1952 et resté depuis en chantier : «Toute grande prose est aussi une recréation de l'instrument signifiant, désormais manié selon une syntaxe neuve. Le prosaïque se borne à toucher par des signes convenus des significations déjà installées dans la culture. La grande prose est l'art de capter un sens qui n'avait jamais été objectivé jusque-là et de le rendre accessible à tous ceux qui (...) parlent la même langue. Un écrivain se survit lorsqu'il n'est plus capable de fonder ainsi une universalité nouvelle, et de communiquer dans le risque.»Le philosophe nous livre ici ses réflexions sur le langage en général, mais aussi une théorie de l'expression qui l'engage autant vers les thèmes du dialogue et du rapport à autrui, vers la problématique anthropologique de la communication, que vers l'expressivité dans l'art et dans ses premières manifestations chez l'enfant. (shrink)