Feminist theorists have crafted diverse accounts of implicit knowing that exceed the purview of epistemology conventionally understood. I characterize this field as through examining thematic clusters of feminist work on implicit knowledge: phenomenological and foucauldian theories of embodiment; theories of affect and emotion; other forms of implicit knowledge. Within these areas, the umbrella concept of implicit knowledge (or understanding, depending on how it's framed) names either contingently unspoken or fundamentally nonpropositional but epistemically salient content in our experience. I make a (...) case for distinguishing implicit knowledge from lively conversations about ‘implicit bias’, as well as from the ‘know-how/know-that’ debates, and I explore key ways the notion of implicit knowledge is currently formulated in feminist philosophy. (shrink)

In my response to the comments of Vincent Colapietro, Charlene Seigfried, and Gail Weiss on Living Across and Through Skins , I explain pragmatist feminism as an ecological ontology that understands bodies and environments as dynamically co-constitutive. I then discuss the relationship of pragmatist feminism to phenomenology, psychoanalysis, Nietzschean genealogy, and Darwinian evolutionary theory. Some of the specific concepts I examine include the anonymous body, the bodying organism, truth as transactional flourishing, and the preservation of racial and ethnic categories.

Using the notion of a transfiguration of sexed bodies, this text deals with the stratifications of the gender-specific imaginary. Starting from the figurative—thus creative—force of the psyche-soma, its interaction with the configurations of a collective body will be developed from the perspectives of social philosophy and philosophy of history. At the center of my discussion is the interdependence between the individual psyche-soma, the socialized individual, and a collective bodily imaginary, on the one hand, and the strata of a gender imaginary (...) on the other. The ontological metaphor as well as the dimension of political action will be highlighted as playing a crucial role for these processes. (shrink)

Merleau-Ponty’s idea of lived body has played a significant role in understanding selfconstruction and has raised issues about the relationships between the private sense and the public world. Merleau-Ponty argues that the lived body and the world are constructed reciprocally. This notion is acknowledged to be a rich source for feminist thought. Yet there is as much criticism as support of Merleau-Ponty’s philosophy from feminists such as Grosz (1994, 1995), Sullivan (1997, 2000, 2001, 2002) and Young (1989). Shannon Sullivan vigorously (...) criticises Merleau-Ponty’s lived body as an anonymous body which erases particularities and results in domination. This paper defends Merleau-Ponty’s notion by clarifying the meaning of anonymity in terms of the understanding of Merleau-Ponty’s lived body as an “author”, and as such as incorporating the capacity to resist anonymity, and sustain particularity and difference, through an ongoing process of authoring his/her own lived experience. Ken Plummer’s notion of sexual story-telling is used to elaborate the elucidation. In conclusion, the educational implications of resisting anonymity are considered and envisaged in terms of promoting tolerance of difference and assertion of particularity by encouraging and developing the capacity to construct the self through an ongoing process of both responsive and responsible self-authoring. Indo-Pacific Journal of Phenomenology , May 2010, Volume 10, Edition 1. (shrink)

This paper aims to explore the relationship between humans and nature and the implied intimacy, so-call ‘ecophilia,’ in light of the French philosopher Maurice Merleau-Ponty. It is revealed from the Merleau-Pontian view of body and nature that there may be a more harmonious relationship between humankind and nature than the commonly assumed, and an alternative understanding of education may thus arise. Following an introduction, this paper falls into three parts: an exploration of the meaning of nature, the corporeality of the (...) body as central to our encounter with nature and the educational implications. The introduction argues that central to one’s understanding of nature is one’s understanding of oneself and the world. To some extent, our current environmental problems are related to a negative understanding of nature. The meaning of nature and our relationship with it will be elaborated by the exploration of the key significance of body to be found in Merleau-Ponty’s philosophy. It will be argued that overall, our understanding of the body may be central to reconnecting humankind and nature. Such a re-conceiving of the part played by the body in our relationship with nature may re-orient education towards a love of nature: ecophilia. (shrink)

: The paper argues that the philosophical starting point of Simone de Beauvoir's The Second Sex is the phenomenological understanding of the living body, developed by Edmund Husserl and Maurice Merleau-Ponty. It shows that Beauvoir's notion of philosophy stems from the phenomenological interpretation of Cartesianism which emphasizes the role of evidence, self-criticism, and dialogue.

The paper argues that the philosophical starting point of Simone de Beauvoir's The Second Sex is the phenomenological understanding of the living body, developed by Edmund Husserl and Maurice Merleau-Ponty. It shows that Beauvoir's notion of philosophy stems from the phenomenological interpretation of Cartesianism which emphasizes the role of evidence, self-criticism, and dialogue.

Several commentators have argued that with his concept of anonymity Merleau-Ponty breaks away from classical Husserlian phenomenology that is methodologically tied to the first person perspective. Many contemporary commentators see Merleau-Ponty’s discourse on anonymity as a break away from Husserl’s framework that is seen as hopelessly subjectivistic and solipsistic. Some judge and reproach it as a disastrous misunderstanding that leads to a confusion of philosophical and empirical concerns. Both parties agree that Merleau-Ponty’s concepts of anonymity mark a divergence from classical (...) Husserlian phenomenology. I will question this view and demonstrate that Merleau-Ponty’s discourse on anonymity remains Husserlian in two important senses: it analyses senses in terms of constituting selves and communities of such selves, and it accounts for the formation of experience by the temporal sedimentation of intentional activity. The argument proceeds in four steps. The first section argues against the widely spread notion according to which Merleau-Ponty’s anonymous subject is collective. In the second section, I offer an alternative reading by demonstrating that Merleau-Ponty uses the term “anonymous” primarily to characterize the lived body of a personal subject. In section three, I introduce Merleau-Ponty’s idea of trace and show that for him both the perceived thing and the perceiving body are traces and as such refer to earlier constitutive acts of alien subjects. I then argue that Husserl’s concepts of sedimentation are crucial for the understanding of this idea. Finally, in section four, I show how Husserl’s theory of depresentation informs Merleau-Ponty’s discourse on anonymity. (shrink)

Through a close reading of Judith Butler's 1989 essay on Merleau-Ponty's “theory” of sexuality as well as the texts her argument hinges on, this paper addresses the debate about the relation between language and the living, gendered body as it is understood by defenders of poststructural theory on the one hand, and different interpretations of Merleau-Ponty's phenomenology on the other. I claim that Butler, in her criticism of the French philosopher's analysis of the famous “Schneider case,” does not take its (...) wider context into account: either the case study that Merleau-Ponty's discussion is based upon, or its role in his phenomenology of perception. Yet, although Butler does point out certain blind spots in his descriptions regarding the gendered body, it is in the light of her questioning that the true radicality of Merleau-Ponty's ideas can be revealed. A further task for feminist phenomenology should be a thorough assessment of his philosophy from this angle, once the most obvious misunderstandings have been put to the side. (shrink)

This thesis is about meaning, expression and language in Merleau-Ponty’s philosophy, and their role in the phenomenological project as a whole. For Merleau-Ponty, expression is the taking up of a meaning given either in perception or in already acquired forms of expression, thereby repeating, transforming or congealing meaning into gestures, utterances, artworks, ideas or theories. Contrary to the predominant view in the literature, the relation of expression to meaning, and in particular the problem of expressing new meanings, was of fundamental (...) importance to Merleau-Ponty from the very beginning, in that it was intrinsically related to the overcoming of what he termed “objective thought”. Admittedly, there is an evolution of his philosophy in this respect: from the early stance where the recasting of certain basic categories is taken as pivotal for the development of a new form of thinking, with arguments drawn also from various empirical and social sciences, to what appears to be an effort at an all-pervading reformulation of philosophical language during his last years. But the remoulding of categories was never for Merleau-Ponty a matter simply of finding a few, better adapted concepts, but from the outset an endeavour to think philosophical arguments through to a point where they reveal their inherent inconsistencies. Recasting philosophical expression is thus a risky enterprise, and this is a point I explore further in Essay 1, that focuses especially upon creative expression in painting and to some extent in literature. In Essay 2 I discuss the notion of Gestalt and how it serves this general project, whereas Essay 3 deals with verbal language, on the basis of Merleau-Ponty’s reading of Saussure’s linguistics. Essay 4 examines bodily expression from the point of view of feminist phenomenology and in particular Judith Butler’s early reading of Merleau-Ponty, and finally Essay 5 discusses expression in the art of dance. (shrink)