I develop an interpretation of Maurice Merleau-Ponty's concept of motor intentionality, one that emerges out of a reading of his presentation of a now classic case study in neuropathology—patient Johann Schneider—in Phenomenology of Perception. I begin with Merleau-Ponty's prescriptions for how we should use the pathological as a guide to the normal, a method I call triangulation. I then turn to his presentation of Schneider's unusual case. I argue that we should treat all of Schneider's behaviors as (...) pathological, not only his abstract movements, as is commonly acknowledged in the secondary literature, but also crucially his concrete movements. Using these facts of Schneider's illness, I reconstruct a ‘fundamental function’ of consciousness, as Merleau-Ponty called it, in which there are two kinds of bodily agency: the power of the body to be solicited by a situation and the power of the body to project a situation. I propose that these powers became dissociated in Schneider's case, as evidenced by his abstract and concrete movements, while in the normal case, these powers comprise a dynamic unity, enacted as motor intentionality. I also discuss how my interpretation complements Merleau-Ponty's assertion that motor intentions exist between mind and matter. (shrink)

This article aims to examine the main tenets of Merleau-Ponty’s political thought. To this end, his early Marxism and his later support for Liberalism are contextualised within Merleau-Ponty’s philosophical work, put into relation and both criticised. The focus of the discussion is shifted onto the role and locus of the political thinker in order to evaluate the scope of a political project such as Marxism might have. It is divided into three sections. The first explores the themes of (...) the philosophy developed until the early 1950s. The two sections that follow aim to critique his later work and to integrate and relate its arguments to earlier writings. (shrink)

Gilbert Ryle and Maurice Merleau-Ponty each attempted to articulate a non-mechanistic concept of the body by stressing the importance of skill: skillful behavior constituting cognition in Ryle’s work, and the skill body constituting perception in Merleau-Ponty’s work. In this chapter, I turn to their cautions and insights. By drawing out the relation between these two seemingly unrelated theorists, I hope to show that together Ryle and Merleau-Ponty have much to offer philosophy today.

An increasing number of scholars at the intersection of feminist philosophy and critical disability studies have turned to Merleau-Ponty to develop phenomenologies of disability or of what, following Rosemarie Garland-Thomson, I call "non-normate" embodiment. These studies buck the historical trend of philosophers employing disability as an example of deficiency or harm, a mere litmus test for normative theories, or an umbrella term for aphenotypical bodily variation. While a Merleau-Pontian-inspired phenomenology is a promising starting point for thinking about embodied (...) experiences of all sorts, I here draw a cautionary tale about how ableist assumptions can easily undermine accounts of non-normate experience. I first argue that the omission or misguided treatment of disability within the history of philosophy in general and the phenomenological tradition in particular is due to the inheritance of what I call “the ableist conflation” of disability with pain, suffering, and disadvantage. I then show that Merleau-Ponty’s famous reading of the blind man’s cane is problematic insofar as it omits the social dimensions of disabled experiences, misconstrues the radicality of blindness as a world-creating disability, and operates via an able-bodied simulation that confuses object annexation or extension with incorporation. In closing, I contend that if phenomenology is to overcome the errors of traditional philosophy, as Merleau-Ponty once hoped, it must heed the insights of “crip” or non-normate phenomenology, which takes the lived experience of disability as its point of departure. [French translation forthcoming in Pour une phénoménologie critique, ed. Donald A. Landes, Quebec City, Les Presses de l'Université Laval/Paris, J.Vrin]. (shrink)

Against David Schenck's interpretation, I argue that it is not absolutely clear that Merleau-Ponty ever meant to replace what Schenck refers to as the "unity of meanings" interpretation of "structure" with a "material meanings" interpretation. A particular problem-setting -- for example, an attempt to understand the "truth in naturalism" or the "truth in dualism" -- may very well require a particular mode of expression. I argue that the mode of expression chosen by Merleau-Ponty for these purposes, while unfortunate (...) in some of its apparent implications, need not be interpreted as recommitting him to the doctrine he spent his life working to renounce. I have argued that this would have been clearer had he been able to avail himself of James J. Gibson's notion of affordances, which capture perfectly what he was reaching for. (shrink)

Over the course of its history, feminist standpoint theory has encountered a number of problems which reveal divisions among its supporters over certain fundamental philosophical commitments. This chapter sketches a phenomenological account of perception that can begin to address these problems, drawn largely from Maurice Merleau-Ponty’s Phenomenology of Perception. Merleau-Ponty can help us resolve these issues by providing an account of perspectival perception wherein a multiplicity of different perceptual standpoints all nonetheless put us in touch with a (...) single external world, and in which some standpoints may be better than others when it comes to accessing certain features of this world. For Merleau-Ponty, the proliferation of standpoints need not lead us into an unacceptably relativistic framework, as long as we are able to conceive of each of these standpoints as giving whoever occupies it access to some particular aspect of a singular, real, shared world. (shrink)

CETTE THESE SE VEUT UNE CONTRIBUTION A LA COMPREHENSION DE LA DERNIERE PHILOSOPHIE DE MERLEAU-PONTY, EN PRENANT COMME FIL CONDUCTEUR LA NOTION D'INSTITUTION. NOUS ESSAYONS D'ABORD DE DELIMITER LE CHAMP D'INTERROGATION DE LA NOTION D'INSTITUTION, TELLE QU'ELLE EST PRESENTEE DANS SES DEUX PREMIERS OUVRAGES. DEUXIEMEMENT, LA DESCRIPTION DE QUATRE ORDRES DE L'INSTITUTION SYMBOLIQUE (ANIMALITE ET VIE; STYLE ARTISTIQUE; LANGUE ET IDEALITE; SYSTEME SOCIAL) QUE NOUS NOUS EFFORCONS DE RECONSTITUER A L'AIDE DES MANUSCRITS INEDITS CONDUIT A DEVOILER LES MOTIVATIONS DE (...) LA RADICALISATION DE LA QUESTION PHENOMENOLOGIQUE. ENFIN, NOTRE PROBLEMATIQUE SE PRESENTE DANS LE DERNIER OUVRAGE COMME UN PROJET DE L'INSTITUTION DE LA PHILOSOPHIE ELLE-MEME. CE PROJET A SA PORTEE HISTORIQUE, SE PROPOSANT DE METTRE EN EVIDENCE LES MOMENTS FECONDS DANS L'HISTOIRE DE LA PHILOSOPHIE, DE MANIERE A LEVER LES DIFFICULTES DE L'ONTOLOGIE ACTUELLE. (shrink)

I argue (1) that what (ontic) New Mechanistic philosophers of science call mechanisms would be material Gestalten, and (2) that Merleau-Ponty’s engagement with Gestalt theory can help us frame a standing challenge against ontic conceptions of mechanisms. In short, until the (ontic) New Mechanist can provide us with a plausible account of the organization of mechanisms as an objective feature of mind-independent ontic structures in the world which we might discover – and no ontic Mechanist has done so – (...) it is more conservative to claim that mechanistic organization is instead a mind-dependent aspect of our epistemic strategies of mechanistic explanation. (shrink)

In his late works, Maurice Merleau-Ponty attempts to show the direction for the development of a new phenomenology. While analysing the intertwining of the visible and the invisible, he raises a question about the way we participate in Being. For Merleau-Ponty, experiencing a work of art is a representative example of our participation in the flesh (la chair). This article will analyse the broadly understood idea of visibility in art and its ability to transcend its apparent aesthetics (...) into its invisible side, which is the source of all appearance and self-knowledge of existence. (shrink)

While there are numerous differences between the approaches taken by Maurice Merleau-Ponty and James J. Gibson, the basic motivation of the two thinkers, as well as the internal logic of their respective views, is extraordinarily close. Both were guided throughout their lives by an attempt to overcome the dualism of subject and object, and both devoted considerable attention to their "Gestaltist" predecessors. There can be no doubt but that it is largely because of this common cause that the (...) subsequent development of their ideas is so similar. It is not my objective in what follows merely to demonstrate a similarity between two lines of thought. Instead, I will try to show that each approach gains considerably from attention to the other. There are numerous ways to begin such a project, each about as arbitrary as the next. For present purposes, I shall take as of central importance the question of the character of the perceived world, both in relation to the traditionally opposed mental and material "substances", and in relation to its identification and individuation of things vis a vis one another and vis a vis ourselves. This will implicate especially Gibson's "affordances" and Merleau-Ponty's thesis concerning the "materiality of meaning.". (shrink)

This paper provides suggestions for educators who have a desire to learn about, or are already committed to, challenging ableism and disablism. As philosophy teachers, we have the opportunity to facilitate student reflection regarding disability, which puts students in a position to make decisions about whether to retain their habitual ways of comporting themselves toward disabled people or to begin the process of forming new perceptual practices. I contend that existential phenomenology, as formulated by Maurice Merleau-Ponty and Linda (...) Martín Alcoff, provides insights regarding the habitual formation of perceptual practices that are useful for thinking about ways that perception may be informed by ableism and disablism. Jessica Cadwallader demonstrates how their insights can be usefully applied to thinking about perceptions of disability. Through analysis of past encounters with people with disabilities, Cadwallader suggests that students change their habitual ways of responding to people with disabilities. While such reflections may be valuable for making habitual perceptual practices explicit, I would suggest that this is only a condition for the possibility of changing ablist perceptual practices rather than the change itself. Students are likely to enter the classroom lacking the insight that they are even engaging in perceptual practices informed by cultural narratives rather than simply perceiving people with impairments as they are. I argue that an approach to teaching on disability that thematizes perceptual practices regarding disability, and takes experiences of disabled people into account, would be more effective than the one Cadwallader describes. Understanding the ways that people with disabilities experience being constructed as a problem through ableist perceptual practices could help students recognize their own potential to impact others in positive and negative ways. (shrink)

Movies have a striking aesthetic power: they can draw us in and induce a peculiar mode of involvement in their images – they absorb us. While absorbed in a movie, we lose track both of the passage of time and of the fact that we are sitting in a dark room with other people watching the play of light upon a screen. What is the source of the power of movies? Noël Carroll, who cites Maurice Merleau-Ponty as an (...) influence on his account of the power of movies, agrees with Merleau-Ponty that our perceptual experience of movies draws on many of the capacities at work in our perceptual experience of everyday situations. Yet Merleau-Ponty’s account of perception shows that Carroll’s emphasis on intellectual inference and the entertaining of unasserted thoughts is a distortion of the phenomenology of cinematic absorption. According to Merleau-Ponty, such intellectual operations come into play in cases of breakdown but should not be read back into the primary absorbed experience as being implicitly operative.. (shrink)

The mechanistic concept of the body, as inherited from René Descartes, has generated considerable trouble in philosophy—including, at least in part, the mind-body problem itself. Still, the corps mécanique remains perhaps the most prevalent though least examined assumption in recent philosophy of mind. I discuss two notable exceptions. Gilbert Ryle and Maurice Merleau-Ponty rejected this assumption for surprisingly similar reasons. Writing at about the same time, though in different languages and in very different circles, they each attempted to (...) articulate a non-mechanistic concept of the body by stressing the importance of skill: skillful behavior constituting cognition in Ryle’s case, and the skill body constituting perception in Merleau-Ponty’s case. In this article, I turn to their cautions and insights. By drawing out the relation between these two seemingly unrelated theorists, I hope to show that together Ryle and Merleau-Ponty have much to offer philosophy today. (shrink)

One of the more striking aspects of Maurice Merleau-Ponty's Phenomenology of Perception (1945) is his use of psychological case studies in pathology. For Merleau-Ponty, a philosophical interpretation of phenomena like aphasia and psychic blindness promises to shed light not just on the nature of pathology, but on the nature of human existence more generally. In this paper, I show that although Merleau-Ponty is surely a pioneer in this use of pathology, his work is deeply indebted to (...) an earlier philosophical study of pathology offered by the German Neo-Kantian Ernst Cassirer in the third volume of the Philosophy of Symbolic Forms (1929). More specifically, I argue that Merleau-Ponty, in fact, follows Cassirer in placing Kant's notion of the productive imagination at the centre of his account of pathology and the features of existence it illuminates. Recognizing the debt Merleau-Ponty's account of pathology has to the Kantian tradition not only acts as a corrective to more recent interpretation of Merleau-Ponty's views of pathology (Dreyfus, Romdenh-Romluc), but also recommends we resist the prevailing tendency to treat Merleau-Ponty's philosophy as anti-Kantian. Instead, my interpretation seeks to restore Merleau-Ponty's place within the Kantian tradition. (shrink)

Two of the most basic commitments of virtue ethics, both ancient and contemporary, are that virtue is knowledge and that this knowledge is a kind of moral sensitivity that is best understood on the model of perception. On this account, the virtuous agent perceives moral goodness and badness in something like the way we perceive that a smiling person is happy or that a raging bull is dangerous. This is opposed to the more widely held view of moral experience, according (...) to which perception informs us only of nonmoral states of affairs; the specifically moral content of the experience, on this view, comes either from distinct pro or con attitudes toward those states of affairs or from general principles that we apply... (shrink)

Maurice Merleau-Ponty was an important twentieth century contributor to the theory of recognition, even though he made literal reference to the concept only sparingly. He emphasized the importance of recognition, not only at the level of inter-personal relations and in the individual’s inclusion in the social, but also in terms of the capacity of human beings to communicate across cultures and across historical distances. The shift towards ontology in his later work provided a renewed grounding for his interest (...) in intersubjectivity and cross-cultural communication. Such continuity might be traced to lasting Hegelian and Marxian legacies in his thinking, which inflected his political interpretation of recognition. (shrink)

This paper aims to find, in Merleau-Ponty’s late thinking, a definition of the virtual which aligns with the latest advancements in digital technology while avoiding a reduction to the digital realm or a stark opposition to reality. The virtual is considered as a crucial characteristic in Merleau-Ponty’s late ontology, especially in The Visible and the Invisible, where a “virtual focus” or “virtual center” of the flesh is introduced. The argument posits that Merleau-Ponty’s monism of the flesh results (...) in a dynamic view of virtuality, with significant ontological implications that reshape the relationship between the digital and the analogue. Merleau-Ponty’s concept of the virtual is defined by several key features: it applies to a monist perspective on reality, to a dynamic relationality between dialectic poles, and to the fabric of reality. This interpretation of the virtual implies a divergence from the digital, as virtuality belongs to the whole spectrum of reality. (shrink)

This study aims to corroborate Merleau-Ponty’s interpretations of fundamental ideas from Saussure’s linguistics by linking them to works that were independently elaborated by Jan Mukařovský, Czech structuralist aesthetician and literary theorist. I provide a comparative analysis of the two authors’ theories of language and their interpretations of thought as fundamentally determined by language. On this basis, I investigate how they conceive linguistic innovation and its translation into changes in the constituted language and other social codes and institutions. I explain (...) how they elaborate on Saussure’s idea of language as a system of oppositions by interpreting cultural innovation as a systematic variation of pre-established social norms and, similarly, linguistic innovation as gesturing within language. Connectedly, I show how Mukařovský’s works help clarify Merleau-Ponty’s focus on the gestural dimension of language. By discussing the two thinkers’ arguments in favour of linguistic innovation, I explore what could be called phenomenological limits of structuralism. (shrink)

Eine der grundsätzlichen Thesen von Maurice Merleau-Ponty lautet, dass unser Zur-Welt-Sein nicht ausgehend von der Instanz des Bewusstseins, sondern ausgehend von der Instanz der Leibes zu verstehen ist. Auch wenn Merleau-Ponty aus dieser These selbst kaum politische Konsequenzen gezogen hat, sind seine Überlegungen doch im Feld der politischen Philosophie von einer ganzen Reihe von Theoretikerinnen und Theoretikern aufgenommen worden, von denen ich im Folgenden zwei aufgreifen möchte: Iris Marion Young und Judith Butler. Beide, so werden ich zeigen, (...) knüpfen in ihren Überlegungen nicht nur direkt an Merleau-Pontys Überlegungen am, um zu zeigen inwiefern der Leib sowohl Objekt als auch Subjekt des politischen Handelns ist, zugleich auch entwickeln beide dessen Überlegungen in entscheidenden Hinsichten weiter: Während uns Young vor Augen führt, dass die Persistenz von politischen Machtverhältnissen ausgehend von der Eigensinnigkeit des Leibes verstanden werden kann, zeigt uns Judith Butler ausgehend von der Idee der Geschichtlichkeit der Leibes, dass dieser als ein Ort von transformativen Möglichkeiten verstanden werden kann. Ausgehend von diesen Anknüpfungen an Merleau-Ponty durch Young und Butler werde ich abschließend argumentieren, dass ‚Weltlichkeit’, ‚Eigensinnigkeit’ und ‚Geschichtlichkeit’ drei wesentliche Momente einer Politik der Leiblichkeit sind. (shrink)

I argue in this paper that Maurice Merleau-Ponty provides a compelling account of alterity in The Prose of the World. I begin by tracing this account of alterity back to its roots in Phenomenology of Perception. I then show how the dynamic of expression articulated in The Prose of the World overcomes the limitations of the account given in the earlier work. After addressing an objection to the effect that the account given in The Prose of the World (...) fails for the same reason as the one given in Phenomenology of Perception, I argue that the key to Merleau-Ponty’s more successful account of alterity is provided by the phenomenon of orientation. (shrink)

This paper sets Maurice Merleau-Ponty and Nishida Kitarō in dialogue and explore the interpretations of artistic expression, which inform their similar phenomenological accounts of perception. I discuss how both philosophers look to artistic practice to reveal multi-perspectival aspects of vision. They do so, I argue, by going beyond a “positivist” representational under-standing of perception and by including negative aspects of visual experience as constitutive of vision. Following this account, I interpret artworks by Cézanne, Guo Xi, Rodin, and Hasegawa (...) according to the versions of multi-perspectival vision articulated by Nishida and Merleau-Ponty. I conclude by highlighting a difference between Merleau-Ponty’s “depth” and Nishida’s “seeing without a seer” regarding the extent to which each of their philosophies de-substantialize and de-localize human vision. (shrink)

A phenomenological look on film editing through Merleau-Ponty’s ideas opens up a new way of seeing what editing is and how it affects the spectator. In the classical sense, editing is looked at technically where certain aspects of its use in the film’s language are interpreted and analyzed to understand why and how something is done. In this thesis, the aim is to not dwell on understanding the why and the how. The aim is to view film editing from (...) a different perspective that might lead to another type of thinking outside the limitations of empirical and intellectualist approaches. While the classical approach is able to satisfy most of what a spectator would need to understand, it falls short on what the spectator feels and experiences. In order to try to grasp how Merleau-Ponty’s phenomenological approach could be adapted to film editing. First we have to start from the beginning to see how editing came to be and what ideas, approaches and techniques it brought with it. As all the approaches have their own uses; we have to consider them as such and lay out what could be with Merleau-Ponty’s way and see how all the approaches compare in the end. Of course, this does not mean erasing all of film history and disregarding the classical way; it means that we can look at films from a perspective that the classical approach may not be able to see. (shrink)

This paper is concerned with Maurice Merleau-Ponty’s contribution to the hermeneutical theory of expressive meaning that has been developed on the basis of an ongoing dialogue with traditional phenomenology. The early portion of the paper examines the unstable boundaries between expression and indication as a key to a new approach to expressive meaning. The paper then takes up Merleau-Ponty’s understanding of expressive life as it emerges in ‘Phenomenology of Perception,’ his first attempt to discuss perception, aesthetics, and (...) temporality in comprehensive terms. The third part of the paper examines Merleau-Ponty’s return to the paintings of Paul Cezanne, which not only clarifies his earlier position but also deepens the philosophical meaning of his reflections on language. My final comments are concerned with how phenomenology can be broadened in a way that can become responsive to the hermeneutical theory of expressive meaning. (shrink)

This is a concordance of page numbers in the following editions of Merleau-Ponty's Phenomenology of Perception: English editions prior to the Routledge Classics 2002; Routledge Classics edition, with the new pagination; the French edition from Gallimard, prior to 2005; the 2e edition from Gallimard, 2005, with new pagination.

On the face of it, Maurice Merleau-Ponty’s views bear a strong resemblance to contemporary disjunctivist theories of perception, especially John McDowell’s epistemological disjunctivism. Like McDowell (and other disjunctivists), Merleau-Ponty seems to be a direct realist about perception and holds that veridical and illusory perceptions are distinct. This paper furthers this comparison. Furthermore, it is argued that elements of Merleau-Ponty’s thought provide a stronger case for McDowell’s kind of epistemological view than McDowell himself provides. Merleau-Ponty’s early (...) thought can be used to develop a unique version of epistemological disjunctivism that is worth consideration alongside contemporary views on perceptual knowledge. (shrink)

From his earliest work forward, phenomenologist Maurice Merleau-Ponty attempted to develop a new ontology of nature that would avoid the antinomies of realism and idealism by showing that nature has its own intrinsic sense which is prior to reflection. The key to this new ontology was the concept of form, which he appropriated from Gestalt psychology. However, Merleau-Ponty struggled to give a positive characterization of the phenomenon of form which would clarify its ontological status. Evan Thompson has (...) recently taken up Merleau-Ponty’s ontology as the basis for a new, “enactive” approach to cognitive science, synthesizing it with concepts from dynamic systems theory and Francisco Varela’s theory of autopoiesis. However, Thompson does not quite succeed in resolving the ambiguities in Merleau-Ponty’s account of form. This article builds on an indication from Thompson in order to propose a new account of form as asymmetry, and of the genesis of form in nature as symmetry-breaking. These concepts help us to escape the antinomies of Modern thought by showing how nature is the autoproduction of a sense which can only be known by an embodied perceiver. (shrink)

The goal of our article is to review the widespread anthropological figure, according to which we can achieve a better understanding of humans by contrasting them with animals. This originally Herderian approach was elaborated by Arnold Gehlen, who characterized humans as “deficient beings” who become complete through culture. According to Gehlen, humans, who are insufficiently equipped by instincts, indirectly stabilize their existence by creating institutions, i.e., complexes of habitual actions. On the other hand, Maurice Merleau-Ponty shows that corporeal (...) relationship to the world is already indirect because it is based on preestablished and readjusted “standards” or “norms” of interaction with the environment. Merleau-Ponty then calls these norms “institutions” and views culture as readjustment of institutions which operate already on the level of corporeal existence. The anthropological figure of confronting humans and animals thus cannot produce, as in Gehlen, a contrast between an allegedly “direct” relationship to the world in animals and a supposedly “indirect” relationship to the world in humans. The Herderian approach can be meaningfully retained only if interpreted as an invitation to confront the norms of indirect interaction with the world in animals and in people, that is, if viewed as a comparison of their respective institutions. (shrink)

In his 1953 lectures at the College de France, Merleau-Ponty dedicated much effort to further developing his idea of embodied subject and interpreted fresh sources that he did not use in Phenomenology of Perception. Notably, he studied more in depth the neurological notion of "body schema". According to Merleau-Ponty, the body schema is a practical diagram of our relationships to the world, an action-based norm with reference to which things make sense. Merleau-Ponty more precisely tried to describe (...) the fundamentally dynamic unity of the body, i.e. the fact there are various possibilities how the practical "diagram" of body schema could be de-differentiated (in pathology) or further refined (via cognitive and cultural superstructures, symbolic systems). This chapter summarises Merleau-Ponty's interpretation of the notion, while contrasting it to the more traditional understanding of the body in phenomenology and recent philosophical texts dealing with body schema. (shrink)

This paper explores the ethical insights provided by Anne Truitt's minimalist sculptures, as viewed through the phenomenological lenses of Hannah Arendt's investigations into the co-constitution of reality and Maurice Merleau-Ponty's investigations into perception. Artworks in their material presence can lay out new ways of relating and perceiving. Truitt's works accomplish this task by revealing the interactive motion of our embodied relations and how material objects can actually help to ground our reality and hence human potentiality. Merleau-Ponty shows (...) how our prereflective bodies allow incompossible perceptions to coexist. Yet this same capacity of bodies to gather multiple perceptions together also lends itself to the illusion that we see from only one perspective. If an ethical perspective becomes reified into one position, it then becomes detached from reality, and the ethical potential is actually lost. At the same time, phenomenologically understood, the real world does not exist in terms of static matter, but is instead a web of contextual relations and meanings. An ethics that does not take embodied relations into account—that allows for only one perspective—ultimately loses its capacity for flexibility, and for being part of a common and shared reality. (shrink)

This paper examines Maurice Merleau-Ponty’s later philosophy of time in light of his critique and reconceptualization of Edmund Husserl’s early time-analyses. Drawing on The Visible and the Invisible and lecture courses, I elaborate Merleau-Ponty’s re-reading of Husserl’s time-analyses through the lens of Rudolf Bernet’s “Einleitung” to this work. My question is twofold: what becomes of the central Husserlian concepts of present and retention in Merleau-Ponty’s later work, and how do Husserl’s elisions, especially of the problem of (...) forgetting, become generative moments for Merleau-Ponty’s thought on time? The answer passes through the logic of institution as the “retrograde movement of the true” (Henri Bergson) and through unconsciousness as disarticulation of the perceptual field, as Merleau-Ponty attempts to detach Husserlian concepts from the philosophy of consciousness and rehabilitate them within an ontology of time. (shrink)

How do philosophers and psychologists receive paradigmatic cases from pathology? More specifically, how are some essential features of ‘normal’ cognitive, affective or perceptual functions derived from these pathological cases? In this paper, I argue that Maurice Merleau-Ponty offers a fecund answer to this question by putting forth a logic of supplementation in pathology that distinguishes the coping behavior of the organic world in contrast to an inorganic one. Supplementation, instead of substitution, marks the world of the living, particularly (...) in its higher forms, as it denotes a persistence through impairment governed by an organic norm. A prominent example of this appears in his reading of the patient Schneider case, a classic example from Goldstein and Gelb’s Gestalt psychology. While earlier commentators were interested in underlying whether or not Merleau-Ponty used this example to denote the persistence of a key function or the disruption of another, what has been missed, on my view, is a far more consequential point about pathologies and how they structure our relation to our world. -/- . (shrink)

George Berkeley's apparently strange view – that nothing exists without a mind except for minds themselves – is notorious. Also well known, and equally perplexing at a superficial level, is his insistence that his doctrine is no more than what is consistent with common sense. It was every bit as crucial for Berkeley that it be demonstrated that the colors are really in the tulip, as that there is nothing that is neither a mind nor something perceived by a mind. (...) In what follows, I shall attempt to re-examine Berkeley's argument in terms of what it appears to have meant to him. I am especially interested in the connection between Berkeley's thought concerning the relation between perception and metaphysics and that of Maurice Merleau-Ponty, with whom, perhaps surprisingly, Berkeley shared a great many intuitions and concerns. Thus part of my objective is to compare and contrast the work of two thinkers who had many common interests, and whose thought frequently led them down similar paths. I shall be especially interested in apparent points of departure, both those that turn out to reflect real divergences and those which reflect confusions of one kind or another. My main objective, however, is not mere textual analysis. Like both Berkeley and Merleau-Ponty, my main hope is to make progress in clarifying how things are. As odd as some of Berkeley's pronouncements may sound to contemporary ears – concerning especially the metaphysical consequences of what he regarded as perceptual facts – I shall argue that, in substance, he was often not far wrong at all – at least as measured by important strands of more contemporary work on the subject. More particularly, I shall contend that for going a long way down an extraordinarily fruitful path which has been subsequently explored more fully by (especially) Martin Heidegger, Merleau-Ponty, Nelson Goodman and Hilary Putnam, Berkeley deserves considerably more credit than he is usually accorded as a progenitor of contemporary approaches to metaphysical issues. (shrink)

In his late ‘A Plea for Excuses’, John L. Austin suggests labelling his philosophy ‘linguistic phenomenology’. This article examines which idea of phenomenology Austin had in mind when he coined this term and what light this sheds on his method. It is argued that the key to answering this question can be found in Merleau-Ponty’s 'Phenomenology of Perception', which Austin must have been familiar with. Merleau-Ponty presents phenomenology in a way Austin could embrace: it is a method, it (...) aims at description and uses reduction, it is a non-idealistic study of essence, and interprets intentionality as ‘operative’. In this light, Austin’s method can be appreciated more fully. (shrink)

In the essay “Cézanne’s Doubt,” Merleau-Ponty explores the relationship between Paul Cézanne’s art and his embodiment. The doubt in question is ultimately about the meaning of his disabilities. Should Cézanne’s disabilities or impairments shape how we interpret his art or should they instead be treated as incidental, as mere biographical data? Although Merleau-Ponty's essay isn’t intended to be phenomenological, its line of questioning is as much about lived experience as it is about art criticism, art history, and aesthetics. (...) I here offer a reading of “Cézanne’s Doubt” as an exploration of one of the more fundamental issues for phenomenological methodology: the relationship between normality and the normate. I first defend this phenomenological and disability-centric or crip reading of the essay. I then argue that insofar as one takes oneself to be “normal” and insofar as doing so underwrites phenomenological inquiry, the problematic of the normate, not just that of normality, is central to phenomenology. (shrink)

Douglas Harding developed a unique first-person experimental approach for investigating consciousness that is still relatively unknown in academia. In this paper, I present a critical dialogue between Harding, Sartre and Merleau-Ponty on the phenomenology of the body and intersubjectivity. Like Sartre and Merleau-Ponty, Harding observes that from the first-person perspective, I cannot see my own head. He points out that visually speaking nothing gets in the way of others. I am radically open to others and the world. Neither (...) does my somatic experience establish a boundary between me and the world. Rather to experience these sensations as part of a bounded, shaped thing (a body), already involves bringing in the perspectives of others. The reader is guided through a series of Harding’s first-person experiments to test these phenomenological claims for themselves. For Sartre, the other’s subjectivity is known through The Look, which makes me into a mere object for them. Merleau-Ponty criticised Sartre for making intersubjective relations primarily ones of conflict. Rather he held that the intentionality of my body is primordially interconnected with that of others’ bodies. We are already situated in a shared social world. For Harding, like Sartre, my consciousness is a form of nothingness; however, in contrast to Sartre, it does not negate the world, but is absolutely united with it. Confrontation is a delusion that comes from imagining that I am behind a face. Rather in lived personal relationships, I become the other. I conclude by arguing that for Harding all self-awareness is a form of other-awareness, and vice versa. (shrink)

This article addresses a debate in Descartes scholarship over the mind-dependence or -independence of time by turning to Merleau-Ponty’s "Nature" and "The Visible and the Invisible." In doing so, it shows that both sides of the debate ignore that time for Descartes is a measure of duration in general. The consequences to remembering what time is are that the future is shown to be the invisible of an intertwining of past and future, and that historicity is the invisible of (...) God. (shrink)

This paper analyses the interpretation of the Marxist dialectic proposed by three important French philosophers of the twentieth century: Maurice Merleau-Ponty (1908-1961), Jean-Paul Sartre (1905-1980) and Raymond Aron (1905-1983). Starting from different theoretical and political points of view, they criticize the historical determinism of the Marxist dialectic and propose three different “philosophies of freedom.” In the Adventures of the Dialectic (1955), Merleau-Ponty criticizes a theory of human history based only on economic structure, and denounces the violence of (...) the Soviet communism. He also accuses his friend Sartre – who had a more favourable attitude towards Soviet communism – of “ultrabolshevism.” Merleau-Ponty was subsequently active in the French non-communist Left. The existentialist philosopher Sartre always sympathized with the Left, and supported the French Communist Party (PCF) until the 1956 Soviet invasion of Hungary. In his Critique of Dialectical Reason (1960), Sartre also underlined the failure of the Soviet revolution, and criticized the violence of Marxist revolutionary thought. The last part of this paper deals with the philosopher and political sociologist Raymond Aron, who had a lifelong, sometimes fractious, friendship with Sartre. He always defended a “skeptical and anti-ideological” liberal position. In his best known book The Opium of the Intellectuals (1955), Aron argues that in post-war France, Marxism was the opium of the intellectuals. In this book, Aron chastised French intellectuals for what he described as their harsh criticism of capitalism and democracy and their simultaneous defense of Marxist oppression, atrocities, and intolerance. In opposition to the dialectical ideology of Marxism, Aron proposes an antitotalitarian philosophical and political theory based on the development of individual liberties. (shrink)

While the French phenomenologist Maurice Merleau-Ponty remained engaged with artistic creation throughout his entire work, which continues to inspire artists today in manifold ways, no systematic and artistically inclusive study of this dimension of his thought has existed so far. Du sensible à l’œuvre fills this gap by offering not only an in-depth study of Merleau-Ponty’s aesthesiology and aesthetics by international Merleau-Ponty scholars spanning three generations, but also a rich selection of essays by art critics and (...) theorists who assess the impact of Merleau-Ponty’s philosophy on their own artistic fields, including cinema, music, literature, film, dance, and installation art. (shrink)

Maurice Merleau-Ponty is often interpreted as claiming that opportunities for action are directly present in perceptual experience. However, he does not provide much evidence for how or why this would occur, and one can doubt that this is an appropriate interpretation of his phenomenological descriptions. In particular, it could be argued the Merleau-Pontyian descriptions mistakenly attribute pre-perceptual or post-perceptual elements such as allocation of attention or judgment to the perceptual experience itself. This paper argues for the (...) class='Hi'>Merleau-Pontyian idea that opportunities for action are present in perceptual experience. It further argues that the phenomenological descriptions can be supported and explained via reference to contemporary research on motor imagery. In particular, it will be argued that non-conscious, covert motor imagery is used to prepare for and regulate skilled actions, and that it is plausible that this imagery combines with perception (likely vision) to create a single experience of the environment as enabling action. The paper will also show that contemporary views on motor imagery are broadly compatible with Merleau-Ponty’s aims. (shrink)

Recent literature on forgiveness suggests that a successful account of the phenomenon must satisfy at least three conditions: it must be able to explain how forgiveness can be articulate, uncompromising, and elective. These three conditions are not logically inconsistent, but the history of reflection on the ethics of forgiveness nonetheless suggests that they are in tension. Accounts that emphasize articulateness and uncompromisingness tend to suggest an excessively deflationary understanding of electiveness, underestimating the degree to which forgiveness is a gift. Accounts (...) that emphasize electiveness, on the other hand, tend to weaken the safeguards that keep forgiveness distinct from condonation, excuse, or mere servility. I argue in this paper that we can do justice to the three conditions by understanding forgiveness in terms of the concept of institution that Maurice Merleau-Ponty developed in his work from the early- to mid-1950s. (shrink)

In “The Child’s Relations with Others,” Merleau-Ponty argues that certain early experiences are jointly owned in that they are numerically single experiences that are nevertheless given to more than one subject (e.g., the infant and caregiver). Call this the “joint ownership thesis” (JT). Drawing upon both Merleau-Ponty’s phenomenological analysis, as well as studies of exogenous attention and mutual affect regulation in developmental psychology, I motivate the plausibility of JT. I argue that the phenomenological structure of some early infant–caregiver (...) dyadic exchanges is best described as involving joint subjects. From birth, some experiences are constitutively social in that certain phenomenal states, such as the positive emotions that arise within these early exchanges, are jointly owned. Along the way, I consider a possible objection. I conclude by considering the explanatory significance of adopting JT. (shrink)

This paper asks how perception becomes racializing and seeks the means for its critical interruption. My aim is not only to understand the recalcitrant and limitative temporal structure of racializing habits of seeing, but also to uncover the possibilities within perception for a critical awareness and destabilization of this structure. Reading Henri Bergson and Maurice Merleau-Ponty in dialogue with Frantz Fanon, Iris Marion Young and race-critical feminism, I locate in hesitation the phenomenological moment where habits of seeing can (...) be internally fractured. Hesitation, I claim, makes visible the exclusionary logic of racializing and objectifying perception, countering its affective closure and opening it to critical transformation. (shrink)

This essay compares Maurice Merleau-Ponty's notion of the flesh with Judith Butler's concept of primary vulnerability in terms of their helpfulness for developing an intersubjective ontology. It compares the flesh with Butler's more recent concept of primary vulnerability insofar as she sees both as useful for intersubjective ontology. The hiatus of the flesh is that which spans between self and world and opens Merleau-Ponty's thought onto an intersubjective ontology. While Butler's discussion of vulnerability as a primary condition (...) of human existence also makes this concept intersubjective, her understanding of violence as articulated through vulnerability makes this a more helpful concept for intersubjective ontology than the flesh. While many discussions of an intersubjective way of life focus almost exclusively on its positive possibilities, almost to the exclusion of violence altogether, the understanding of violence Butler presents through primary vulnerability helps us to discern whether a violation is benign or malign. In turn, this fuller understanding of violence lets primary vulnerability open onto an ethical imperative of reconciliation, but a reconciliation of what is never whole. (shrink)

In recent discussions of two important issues in the philosophy of perception, viz. the problems of perceptual presence and perceptual constancy, Merleau-Ponty’s ideas have been garnering attention thanks to the work of Sean Kelly and Alva Noë. Although both Kelly’s normative approach and Noë’s enactive approach highlight important aspects of Merleau-Ponty’s view, I argue that neither does full justice to it because they overlook the central role that style plays in his solution to these problems. I show that (...) a closer look at the Phenomenology and several other texts from this period reveals that, on Merleau-Ponty’s account, we are able to perceive the absent features of objects as present, constant properties, and constant objects because we recognize that the objects we perceive have a unique style that persists through and unifies all their appearances. (shrink)

As neither a classical naturalist nor a non-naturalist, Merleau-Ponty appears to be a moderate or liberal naturalist. But can a phenomenologist really be a naturalist, even a liberal one? A lot hinges on how we tease this out, both as to whether it is plausible to claim Merleau-Ponty as a liberal naturalist (I argue it is), and as to whether it is an attractive and coherent position. Indeed, despite its important challenges to orthodox naturalism, there are arguably two (...) traps to avoid. If it becomes too liberal, we get: dualism or an ontological pluralism that is difficult to distinguish from a constructivism; or, in seeking to sidestep that metaphysical dilemma, there is sometimes an insistence on an overly neat methodological separation between description/understanding and explanation that is belied in practice (both scientific and philosophical). It is doubtful that such positions can legitimately claim to be naturalist in orientation, liberal or not. Merleau-Ponty’s philosophy avoids these traps, however, and it is thus a useful resource for contemporary work trying to navigate between scientific naturalism and non-naturalism. (shrink)

I argue that we find the articulation of a problem concerning bodily agency in the early works of the Merleau-Ponty which he explicates as analogous to what he explicitly calls the problem of perception. The problem of perception is the problem of seeing how we can have the object given in person through it perspectival appearances. The problem concerning bodily agency is the problem of seeing how our bodily movements can be the direct manifestation of a person’s intentions in (...) the world. In both cases what, according to Merleau-Ponty, obscures a recognition of the phenomenon in question is a conception of our bodily capacities, i.e. our sensibility and our motility, which reduces these to the workings of mechanisms that are blind to meaning. I argue that both the problem concerning perception and the problem concerning bodily agency can be properly called transcendental. The problem of perception is transcendental because it concerns the very intelligibility of appearances and judgements with empirical content. The problem of bodily agency is transcendental in the sense that it concerns the very intelligibility of our bodily capacity to carry out intentions and by implication the intelligibility of our intentions as such. (shrink)