Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and of what (...) we experience when we look at their paintings. The investigation of the particular mode of being of images leads to a consideration of the body and Merleau-Ponty’s later ontology. (shrink)

Is the phenomenological concept of “body” not, in general, an ideal? The purpose of this article is to defend this thesis within the scope of the French phenomenological tradition. The French phenomenological concept of “lived body” points to an ideal, rather than to our actual experience of the body; and this ideal is none other than that of the soul. The Cartesian ideal of the soul becomes, in the French phenomenological tradition, the ideal of the body—of a body that is (...) determined, in return, by the soul’s properties. The French concept of “lived body” results indeed from two forms of idealization that will be exposed successively: the epistemological idealization that consists in attributing, to the body, the soul’s mode of knowledge as a cogito; the practical idealization that consists in attributing, to the body, the soul’s mode of power and action as an unlimited will. This twofold gesture finds its paradigmatic expression in Michel Henry’s phenomenology of the body, but can also be seen at work in Sartre, Ricœur and Merleau-Ponty. (shrink)

Do the senses represent causation? Many commentators read Nicolas Malebranche as anticipating David Hume’s negative answer to this question. I disagree with this assessment. When a yellow billiard ball strikes a red billiard ball, Malebranche holds that we see the yellow ball as causing the red ball to move. Given Malebranche’s occasionalism, he insists that the visual experience of causal interaction is illusory. Nevertheless, Malebranche holds that the senses represent finite things as causally efficacious. This experience of creaturely causality explains (...) why Aristotelian philosophers and others struggle to recognize occasionalism’s truth. (shrink)