The Merleau-Ponty Dictionary (Continuum Philosophy Dictionaries)
Donald A. Landes
Format: PDF / Kindle (mobi) / ePub
Maurice Merleau-Ponty (1908-1961) is one of the central figures of 20th-century Continental philosophy, and his work has been hugely influential in a wide range of fields. His writings engage in the study of perception, language, politics, aesthetics, history and ontology, and represent a rich and complex network of exciting ideas.
The Merleau-Ponty Dictionary provides the reader and student of Merleau-Ponty with all the tools necessary to engage with this key thinker: a comprehensive A to Z that provides summaries of all his major texts and articles, clear and straightforward explanations of his terminology and innovative concepts, and detailed discussions of the figures and philosophies that influenced his work. The book also includes a philosophical introduction, a chronology of Merleau-Ponty's life and works, and suggestions for further reading. This dictionary is the ideal reading and research companion for students at all levels.
sum of images or sensations, but rather a “temporal gestalt.” Through montage and editing, which are thus considered temporal decisions, the director has a possible genuine expressive art. As with a painter like Cézanne, who expresses through color and strokes, the director’s style infuses the whole with a sense through the rich temporal combination of the visual and the aural, and its sense is not Fink, Eugen 83 separable from its concrete expression: “the film does not mean anything but
as the simple result of certain physical and physiological processes […]. Ultimately the real world is the physical world as science conceives it, and it engenders our consciousness itself” (PrP, 23). Gestural theory of meaning 89 Gestural theory of meaning The theory of meaning and speech established by Merleau-Ponty in Phenomenology of Perception. According to Merleau-Ponty, speech is not a mere external accompaniment of thought, but rather that speech accomplishes thought and that
language itself bears its sense in the very style of its gestures or the traces of its gestures. As such, the “sense” of the gesture is written into the gesture itself, and since speech too is a “genuine gesture,” it too must contain “its own sense” (PhP, 189). Thus, every communication remains contingent upon an embodied taking up, and there is never a pure meaning first in the head of the speaker and then in the mind of the listener by which we might judge a complete and successful
the present generation was called to repair the schism between intellectualism and empiricism, and he ventures that his century will be remembered as the one that “has gone beyond these antitheses” (S, 225). Such an accomplishment would involve reaching a humanism through ontology that would itself reconcile the very categories that establish humanism in classical thought (226). The essay begins with a reflection on the impossibility of merely recording the advances in philosophy since 1900.
of my own intentionality, a “familiar manner of handling the world,” but this is only another anonymous living being, not yet another person (PhP, 370). Human communication through the privileged cultural object of language completes this picture, constituting a common situation of which neither interlocutor is the sole creator or master. But is this anonymous ego really “the Other” we set out to discover? Given that all consciousness begins from its own 166 Phenomenology of Perception