As is made plain in the critical apparatus and editorial matter appended to the original German publication of Hussed's Ideas II, I this is a text with a history. It underwent revision after revision, spanning almost 20 years in one of the most fertile periods of the philosopher's life. The book owes its form to the work of many hands, and its unity is one that has been imposed on it. Yet there is nothing here that cannot be traced back (...) to Hussed himself. Indeed, the final" clean copy" for publication, prepared by an assistant, was completely reviewed by the master three times and emended by him in detail on each occasion. Nevertheless, in the end the work was in fact not submitted for publication, and after Hussed's pen last touched the manuscript in 1928 it was set aside until posthumously edited and published by the Hussed-Archives in 1952. The story of the composition of Ideas II begins with the "pencil manuscript" of 1912. This is the ultimate textual source for both Ideas II and Ideas III. 2 It has been preserved as a folio of 84 sheets in very dense shorthand of the Gabelsberger system, written mostly with a pencil. It was composed by Hussed "in one stroke" immediately after the completion of I Edmund Husser!: Ideen zu einer reinen Phiinomenologie und phiinomenologischen Philosophie. Zweites Buch: Phiinomenologische Untersuchungen zur Konstitution. Edited by Marly Biemel. The Hague: Martinus NijhofT, 1952 (Husserliana IV). (shrink)

The chapter titled “The Body” in Being and Nothingness offers a groundbreaking, if somewhat neglected, philosophical analysis of embodiment. As part of his “es- say on phenomenological ontology,” he is proposing a new multi-dimensional ontological approach to the body. Sartre’s chapter offers a radical approach to the body and to the ‘flesh’. However, it has not been fully appreciated. Sartre offers three ontological dimensions to embodiment. The first “ontological dimension” addresses the way, as Sartre puts it, “I exist my body.” (...) The second dimension is the manner in which my body is experienced and utilized by the other. This includes my ready-to-hand equipmental engagement with the world and my body as the “tool of tools.” The third dimension is the manner in which “I exist for myself as a body known by the other.” In this paper, I explore Sartre’s original analysis and suggest comparisons with Merleau-Ponty’s account of embodiment. I shall suggest that Sartre offers more discussion on intercorporeality than Merleau-Ponty. -/- . (shrink)