By Neal DeRoo, Kascha Semonovitch
This ebook poses the query of what lies on the restrict of philosophy. via shut reviews of French phenomenologist Maurice Merleau-Ponty's lifestyles and paintings, the authors learn one of many 20th century's so much interdisciplinary philosophers whose inspiration intersected with and contributed to the practices of paintings, psychology, literature, religion and philosophy. As those essays exhibit, Merleau-Ponty's oeuvre disrupts conventional disciplinary limitations and activates his readers to invite what, precisely, constitutes philosophy and its others.
Featuring essays by way of a global crew of best phenomenologists, artwork theorists, theologians, historians of philosophy, and philosophers of brain, this quantity breaks new floor in Merleau-Ponty scholarship—including the 1st sustained reflections at the dating among Merleau-Ponty and religion—and magnifies a voice that's talked-over in too many conversations around the educational disciplines. someone attracted to phenomenology, artwork concept and heritage, cognitive technological know-how, the philosophy of brain, and the philosophy of faith will locate themselves challenged and engaged by means of the articles incorporated during this vital attempt at inter-disciplinary philosophy.
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Extra info for Merleau-Ponty at the Limits of Art, Religion, and Perception (Continuum Studies in Continental Philosophy)
Indianapolis, IN: Hackett. -L. (2005), Étant donné. Essai d’une phénoménologie de la donation, 4th edition. Paris: Presses Universitaires de France. Chapter 3 Merleau-Ponty and Kant’s Third Critique : The Beautiful and the Sublime1 Galen A. Johnson It is my contention that Merleau-Ponty is a philosopher of the beautiful and the sublime, though he rarely used those words. In the recently published lecture notes from 1956–1960, Nature, we find Merleau-Ponty fully engaged with Kant’s Critique of Judgment.
His descriptions refer to the way in which something is given; appearances are examined in the very process of their appearing. This corresponds to the ‘canonical’ (cf. Marion, 2005, p. 33) definition of a phenomenon as Husserl gives it in The Idea of Phenomenology: ‘The word “phenomenon” is ambiguous in virtue of the essential correlation between appearance and that which appears. Φαινóµενον (phenomenon) in its proper sense means that which appears, and yet it is by preference used for the appearing itself, for the subjective phenomena (if one may use this expression which is apt to be misunderstood in the vulgar psychological sense)’ (Husserl, 1964, p.
Furthermore, the turn to embodied affection and auto-affection means that ‘the a priori is not knowable in advance of experience’ and ‘there can be no question of distinguishing two elements of knowledge: one a priori and the other a posteriori ’ (1962, p. 220; 1945a, p. 255). Merleau-Ponty argues that a priori truths are experience understood, reflected upon, made explicit. For example, it indeed would be contradictory to assert that the sense of touch is devoid of spatiality, and it is a priori impossible to touch without touching in space, but this is due to our bodily experience of a world.
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