This volume presents the work of Maurice Merleau-Ponty, a great philosopher and social theorist of mid-twentieth century, as a viable alternative to both modernism and postmodernism. Douglas Low argues that Merleau-Ponty's philosophy offers explanations and solves problems that other philosophies grapple with, but do not resolve, given their respective theoretical presuppositions and assumptions. Low brings the work of Merleau-Ponty into critical contact with important thinkers, including Sartre, Heidegger, Derrida, and Marx. He highlights Merleau-Ponty's connection to the early Hegel, especially with regard to the criticism of modernism's "representational consciousness" and its subsequent skepticism with regard to our being in the world. Merleau-Ponty made a concerted effort to solve the problems that come about due to a wide variety of Western dualisms: body and mind, perception and conception, self and other, etc. He frequently does so by demonstrating the connection between these disparate terms, the connection of perception with affect and interest, fact with value, and a broadened view of science with moral and philosophical judgment. Merleau-Ponty's unique contribution is his focus on the lived-through perceiving body and its relationship to abstract thought and language. In his detailed analysis of the work of Merleau-Ponty, Low brings attention to a twentieth-century master capable of altering the landscape of modern and social philosophy in the twenty-first century.

This volume presents the work of Maurice Merleau-Ponty, a great philosopher and social theorist of mid-twentieth century, as a viable alternative to both modernism and postmodernism. Douglas Low argues that Merleau-Ponty's philosophy offers explanations and solves problems that other philosophies grapple with, but do not resolve, given their respective theoretical presuppositions and assumptions. Low brings the work of Merleau-Ponty into critical contact with important thinkers, including Sartre, Heidegger, Derrida, and Marx. He highlights Merleau-Ponty's connection to the early Hegel, especially with regard to the criticism of modernism's "representational consciousness" and its subsequent skepticism with regard to our being in the world. Merleau-Ponty made a concerted effort to solve the problems that come about due to a wide variety of Western dualisms: body and mind, perception and conception, self and other, etc. He frequently does so by demonstrating the connection between these disparate terms, the connection of perception with affect and interest, fact with value, and a broadened view of science with moral and philosophical judgment. Merleau-Ponty's unique contribution is his focus on the lived-through perceiving body and its relationship to abstract thought and language. In his detailed analysis of the work of Merleau-Ponty, Low brings attention to a twentieth-century master capable of altering the landscape of modern and social philosophy in the twenty-first century.

Influenced by Kojève's interpretation of Hegel as well as his direct political experience of the second world war, Maurice Merleau-Ponty abandoned the religious and philosophical position he had assumed in the 1930s and turned to Marxism. This is the first critical study of the French philosopher's political ideas and the context in which they evolved. In its origin and its development, Merleau-Ponty's political thought expressed a subtle dialectic between ongoing political events and the apparent truths of Marx's analysis. With the onset of the cold war, the discovery of the Soviet concentration camps, the repression of Eastern Europe, the Algerian crisis, and the founding of the Fifth Republic, Merleau-Ponty began to take a critical look at Marx's ideas of the genesis of humanism in the light of these disturbing political realities. His reconsideration of the basis of Marxism and his conclusion that it had lost contact with history led to a fundamental reorientation of his attitudes. No longer sympathetic to the use of violence to end violence, he criticized Sartre's external justification of communist violence as 'magical' and advocated instead a new liberalism combining parliamentary democracy with an awareness of the social problems of industrial capitalism. Barry Cooper's study of this important contemporary thinker gives context for an understanding of Merleau- Ponty's politics and, in so doing, brings together the complex issues and ideas that have shaped modern European political and philosophical thought.

Maurice Merleau-Ponty is widely recognized as one of the major figures of twentieth-century philosophy. The recent publication of his lecture courses and posthumous working notes has opened new avenues for both the interpretation of his thought and philosophy in general. These works confirm that, with a surprising premonition, Merleau-Ponty addressed many of the issues that concern philosophy today. With the benefit of this fuller picture of his thought, Merleau-Ponty and Contemporary Philosophy undertakes an assessment of the philosopher's relevance for contemporary thinking. Covering a diverse range of topics, including ontology, epistemology, anthropology, embodiment, animality, politics, language, aesthetics, and art, the editors gather representative voices from North America and Europe, including both Merleau-Ponty specialists and thinkers who have come to the philosopher's work through their own thematic interest.

Since the latter half of the 20th century, committed art has been associated with conceptual, critical and activist practices. Painting, by contrast, is all too often defined as an outmoded, reactionary, market-led venture; an ineffectual medium from the perspective of social and political engagement. How can paintings change the world today? The question of painting, in particular, fuelled the investigations of a major 20th-century philosopher: the French phenomenologist, Maurice Merleau-Ponty (1907-61). Merleau-Ponty was at the forefront of attempts to place philosophy on a new footing by contravening the authority of Cartesian dualism and objectivist thought-an authority that continues to limit present-day intellectual, imaginative, and ethical possibilities. A central aim of The Question of Painting is to provide a closely focused, chronological account of his unfolding project and its relationship with art, clarifying how painting, as a paradigmatically embodied and situated mode of investigation, helped him to access the fundamentally “intercorporeal” basis of reality as he saw it, and articulate its lived implications. With an exclusive and extended conversation about the contemporary virtues of painting with New York based artist Leah Durner, for whom the work of Merleau-Ponty is an important source of inspiration, The Question of Painting brings today's much debated concerns about the criticality of painting into contact with the question of painting in philosophy.

Buddhist philosophy of Anicca (impermanence), Dukkha (suffering), and

Philosophers and artists consider the relevance of Maurice Merleau-Ponty’s philosophy for understanding art and aesthetic experience. This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty’s aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher’s writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining.

Merleau-Ponty and the Paradoxes of Expression offers a comprehensive reading of the philosophical work of Maurice Merleau-Ponty, a central figure in 20th-century continental philosophy. By establishing that the paradoxical logic of expression is Merleau-Ponty's fundamental philosophical gesture, this book ties together his diverse work on perception, language, aesthetics, politics and history in order to establish the ontological position he was developing at the time of his sudden death in 1961. Donald A. Landes explores the paradoxical logic of expression as it appears in both Merleau-Ponty's explicit reflections on expression and his non-explicit uses of this logic in his philosophical reflection on other topics, and thus establishes a continuity and a trajectory of his thought that allows for his work to be placed into conversation with contemporary developments in continental philosophy. The book offers the reader a key to understanding Merleau-Ponty's subtle methodology and highlights the urgency and relevance of his research into the ontological significance of expression for today's work in art and cultural theory.

This book opens up new dimensions in the philosophical thought of Merleau-Ponty and addresses contemporary issues concerning interpretation theory and postmodernity. In Part I the authors employ the texts of Merleau-Ponty to challenge many of assumptions that operate in the current field of hermeneutics. They find in Merleau-Ponty the outline of a hermeneutics of ambiguity that incorporates his accounts of the human body, language, and temporality in working out the concepts of interpretation, context, perspective, truth, and interpersonal transgression. Merleau-Ponty thus enters into a productive dialogue with contemporary thinkers such as Gadamer, Ricoeur, Habermas, Levinas, and Derrida. Part II engages Merleau-Ponty with the "many voices" of postmodernism. Some of the most able Merleau-Ponty interpreters reveal the richness of his work through variant readings. Can Merleau-Ponty be construed as a postmodern thinker, or as a critic of postmodernism? To what extent can the concepts of flesh, reversibility, and ecart be made to function as deconstructive non-concepts? What can Merleau-Ponty contribute toward a postmodern politics? These essays move the discussion from Derrida to Deleuze, Foucault, and Lyotard.

Merleau-Ponty has long been known as one of the most important philosophers of aesthetics, yet most discussions of his aesthetics focus on visual art. This book corrects that balance by turning to Merleau-Ponty's extensive engagement with literature. From Proust, Merleau-Ponty developed his conception of “sensible ideas,” from Claudel, his conjoining of birth and knowledge as “co-naissance,” from Valéry came “implex” or the “animal of words” and the “chiasma of two destinies.” Literature also provokes the questions of expression, metaphor, and truth and the meaning of a Merleau-Pontian poetics. The poetic of Merleau-Ponty is, the book argues, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. Ultimately, theoretical figures or “figuratives” that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression.