"In this book, Gabor Csepregi describes in detail the nature and scope of the body's innate abilities and reflects on their significance in human life."--BOOK JACKET.

ABSTRACTThis essay offers a rethinking of the gendered body as both lived and historically constituted. These two dimensions are sometimes seen as irreconcilable, especially by some proponents of p...

In this article, I describe the experience of dancing-a-walk. My specific focus is on the shift that I perceive in my body when I dance-a-walk rather than functionally walking. Following a firstperson perspective, I demonstrate how my experience of practicing dancing-a-walk interrogates the habit of walking and makes it come alive again as an expression of the body. First, I show how the practice of dancing-a-walk challenges the dichotomy between abstract and concrete movement proposed by Maurice Merleau-Ponty in the Phenomenology (...) of Perception. Indeed, dancing-a-walk is an example of a concrete and yet already abstract movement. Then, I turn to concepts such as habits and body memory. By identifying how the perception of my body changes when I dance everyday movements versus when I execute such movements functionally, I aim to develop a new perspective on and vocabulary for a phenomenological definition of concrete/abstract movements within the context of dance. (shrink)

ABSTRACTIn this article I examine Merleau-Ponty’s understanding of the relation between literature, being and perception. I focus especially on two of Merleau-Ponty’s courses at Collège de France:...

_Phenomenological insights into health issues relating to bodily self-experience, normality and deviance, self-alienation, and objectification._.

An original interpretation of Merleau-Ponty on subjectivity, drawing from and challenging both the continental and analytic traditions.

Recent years have seen a rise in the number of sociological, anthropological, and ethnological works on the gift metaphor in organ donation contexts, as well as in the number of philosophical and theological analyses of giving and generosity, which has been mirrored in the ethical debate on organ donation. In order to capture the breadth of this field, four frameworks for thinking about bodily exchanges in medicine have been distinguished: property rights, heroic gift-giving, sacrifice, and gift-giving as aporia. Unfortunately, they (...) all run into difficulties in terms of both making sense of the relational dimensions of postmortem and live organ donations and being normatively adequate in the sense of shedding light and providing guidance on ethical concerns when body parts are donated. For this reason, this article presents a phenomenological framework of giving-through-sharing, based on Maurice Merleau-Ponty’s philosophy. This framework makes sense of relational dimensions of postmortem and live organ donation. It also sheds light on three highly debated concerns in organ donation ethics: indebtedness on the part of recipients, the fact that some live donors do not experience donation as a matter of choice, and the potentially painful experience of donors’ relatives, who need to make decisions about postmortem organ donation at a time of bereavement. It can indirectly support what may be called a normalization of bodily exchanges in medicine. (shrink)

This paper takes up the question as to what has primacy within Merleau-Ponty’s existential phenomenology as a way to provide insight into the relation between empirical science and transcendental philosophy within his account of embodiment. Contending that this primacy necessarily pertains to methodology, I show how Kurt Goldstein’s conception of biology provided Merleau-Ponty with a scientific model for approaching human existence holistically in which primacy pertains to the transcendental practice of productive imagination that generates the eidetic organismic Gestalt in terms (...) of which sense is made of empirical facts. Considering the analogous role played by imagination in Merleau-Ponty’s account of perceptual synthesis in the form of what he called projection, I argue that his account of embodiment is, parallel to Goldstein, grounded methodologically on the projection of an organismic Gestalt, and that as a form of operative-intentional praxis projection is the site of primacy in his phenomenology overall. In terms of the relation between natural science and transcendental philosophy in Merleau-Ponty’s account of embodiment, while the theoretical dimension of the latter—the eidetic apriority of the organismic Gestalt—is coupled dialectically with empirical facts on an epistemically coeval basis, these are jointly subordinated to the normative commitments implied by the imaginative projection of that Gestalt. The primacy of the latter is transcendental but in a distinctly practical sense, such that any substantive discrepancy between natural science and Merleau-Pontian phenomenology reflects metaphilosophical, not theoretical, disagreement. (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)

In this paper, I argue that in spite of suggestions to the contrary, Merleau-Ponty defends a positive account of the kind of abstract thought involved in mathematics and natural science. More specifically, drawing on both the Phenomenology of Perception and his later writings, I show that, for Merleau-Ponty, abstract thought and perception stand in the two-way relation of “foundation,” according to which abstract thought makes what we perceive explicit and determinate, and what we perceive is made to appear by abstract (...) thought. I claim that, on Merleau-Ponty's view, although this process can sometimes lead to falsification, it can also be carried out in such a manner that allows mathematics and natural science to articulate what we perceive in a way that is non-distortive and in keeping with the demands of perception itself. (shrink)

This paper is a response to a claim made by Tarjei Larsen that Merleau-Ponty’s own theory of painting undermines the important distinction made in his thought between primordial perception and cultural construction because it requires that perception take different cultural and historical forms in order to account for perspectival painting. I show that this distinction is not so easily collapsed by arguing that Larsen has misconstrued Merleau-Ponty’s account of painting as a phenomenological theory of painting and misinterpreted Merleau-Ponty’s concept of (...) painterly style, and that therefore the conclusion that perception must be malleable is not warranted. What is at stake in this debate is whether Merleau-Ponty’s own account of painting threatens the basis for his phenomenological project as well as his attempt to accord substantial philosophical significance to painting. (shrink)

A distinctive feature of Merleau-Ponty’s thought is the central role he assigns style in generally characterizing embodied agents’ perceptual and cognitive functioning. Despite this, he says little to explain how he conceives style itself. This article therefore aims to clarify Merleau-Ponty’s notion of style and its significance within and beyond his work. It begins by surveying his broad application of the term and using his discussions of painting to reconstruct his conception of style, identifying two major roles Merleau-Ponty attributes it (...) in unifying intentional structures and founding conceptual meaning. His view is related to several competing philosophical conceptions of style to highlight its distinctiveness and some conceptual difficulties in adequately defining style. I then argue that Merleau-Ponty succeeds in coherently distinguishing style from rules by recognizing that style conceives pattern formation, especially the relation of general and particular, in a way contrasting with the identity-based thinking inherent in the functioning of rules. With this distinction I conclude that, although Merleau-Ponty overgeneralizes its role, his conception of style has broader philosophical significance in accurately capturing the nonmechanical cohesion of certain embodied intelligent activities (such as painting) and enabling better understanding of the variety of forms such activities can take. (shrink)

Sensation is a concept with a conflicted philosophical history. It has found as many allies as enemies in nearly every camp from empiricism to poststructuralism. Polyvalent, with an uncertain referent, and often overshadowed by intuition, perception, or cognition, sensation invites as much metaphysical speculation as it does dismissive criticism. -/- The promise of sensation has certainly not been lost on the phenomenologists who have sought to ‘rehabilitate’ the concept. In Plastic Bodies, Tom Sparrow argues that the phenomenologists have not gone (...) far enough, however. Alongside close readings of Merleau-Ponty and Levinas, he digs into an array of ancient, modern, and contemporary texts in search of the resources needed to rebuild the concept of sensation after phenomenology. He begins to assemble a speculative aesthetics that is at once a realist theory of sensation and a philosophy of embodiment that breaks the form of the ‘lived’ body. Maintaining that the body is fundamentally plastic and that corporeal identity is constituted by a conspiracy of sensations, he pursues the question of how the body fits into/fails to fit into its aesthetic environment and what must be done to increase the body’s power to act and exist. (shrink)

In this dissertation, I provide an interpretation and defense of Merleau-Ponty's thesis of the primacy of perception, namely, the thesis that all knowledge is founded in perceptual experience. I take as an interpretative and argumentative key Merleau-Ponty's phenomenological conception of motivation. Whereas epistemology has traditionally accepted a dichotomy between reason and natural causality, I show that this dichotomy is not exhaustive of the forms of epistemic grounding. There is a third type of grounding, the one characteristic of the grounding relations (...) found in perception: motivation. I argue that introducing motivation as a form of epistemic grounding allows us to see how Merleau-Ponty's thesis of the primacy of perception avoids both rationalism and empiricism. Whereas empiricism has argued that all the content of our knowledge is grounded in causal interactions between the world and our senses, and rationalism has held that experience does not suffice as a reason for knowledge, thinking of the relation between experience and knowledge in terms of motivation accommodates the best insights of rationalism and empiricism. Motivation allows us to see how knowledge can be grounded in experience without the content of knowledge being reducible to that of experience. (shrink)

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the cognitive (...) and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)