The aim of this paper is to examine Merleau-Ponty’s idea of a “psychoanalysis of Nature”. My thesis is that in order to understand the creation of a Merleau-Pontean psychoanalysis, we need to ultimately understand the place of Schelling in Merleau-Ponty’s late thought. Through his dialogue with Schelling, Merleau-Ponty will be able to formulate not only a psychoanalysis of Nature, but also fulfil the ultimate task of phenomenology itself; namely, of identifying “what resists phenomenology—natural being, the ‘barbarous’ source Schelling spoke of” (...) and situating it precisely at the heart of phenomenology. The plan for studying this natural psychoanalysis is threefold. First, I provide an overview of the role psychoanalysis plays in the 1951 lecture, “Man and Adversity,” focusing especially on this lecture as a turning point in his thinking. Second, I chart how Merleau-Ponty’s psychoanalysis is informed by the various ways in which the unconscious is formulated in his thought, leading eventually to a dialogue with Schelling. Accordingly, in the final part of the paper, I trace the role of Schelling’s thought in the creation of a Merleau-Pontean psychoanalysis. As I argue, what distinguishes this psychoanalysis is the centrality of Schelling’s idea of the “barbaric principle,” which manifests itself as the notion of an unconscious indexing an “excess of Being” resistant to classical phenomenology. (shrink)

How is our experience of the world affected by our experience of others? Such is the question I will be exploring in this paper. I will do so via the agoraphobic condition. In agoraphobia, we are rewarded with an enriched glimpse into the intersubjective formation of the world, and in particular to our embodied experience of that social space. I will be making two key claims. First, intersubjectivity is essentially an issue of intercorporeality, a point I shall explore with recourse (...) to Merleau-Ponty’s account of the prepersonal body. The implication of this claim is that evading or withdrawing from the other remains structurally impossible so long as we remain bodily subjects. Second, the necessary relation with others defines our thematic and affective experience of the world. Far from a formal connection with others, the corporeal basis of intersubjectivity means that our lived experience of the world is mediated via our bodily relations with others. In this way, intercorporeality reveals the body as being dynamically receptive to social interactions with others. Each of these claims is demonstrated via a phenomenological analysis of the agoraphobe’s interaction with others. From this analysis, I conclude that our experience of the world is affected by our experience of others precisely because we are in a bodily relation with others. Such a relation is not causally linked, as though first there were a body, then a world, and then a subject that provided a thematic and affective context to that experience. Instead, body, other, and world are each intertwined in a single unity and cannot be considered apart. (shrink)

This essay considers the role of depersonalization in the philosophy of Merleau-Ponty. While there has been a modest amount of interest in depersonalization from a phenomenological perspective, a critical exploration of the theme of depersonalization in Merleau-Ponty’s thinking itself remains overlooked ; Colombetti and Ratcliffe. This is an oddity, given that the theme of depersonalization proves instructive in Merleau-Ponty’s account of the constitution of the subject, and appears within Phenomenology of Perception at key points in his thinking. This paper serves (...) as a critical exposition of the role of depersonalization in Merleau-Ponty’s thought. I proceed in three ways. In the first instance, I provide an overview of depersonalization, addressing its salient characteristics, which includes: a feeling of disturbed bodily subjectivity; a diminishment of affective feeling; and a corresponding and overarching sense of unreality, carrying with it a sense of estrangement. In the main part of the paper, I consider the articulation of depersonalization in Merleau-Ponty, especially as it figures in Phenomenology of Perception. My claim is that depersonalization can be best captured as an expression of Merleau-Ponty’s idea of ambiguity. I conclude by considering to what extent Merleau-Ponty’s account of depersonalization corresponds with the medical understanding of the condition. (shrink)

This article reflects on the way COVID-19 has altered our understanding and experience of everyday life, with a particular focus on the relationship between anxiety and the body. There are a number of ways to think about how anxiety has impacted bodily experience during the pandemic, and I focus on two specific aspects. First, I focus on the transformation of the body from a site of pre-reflective unity to its thematization as a discernible thing. In the process, I argue that (...) this disclosure of the body as a thing renders the body an object of anxiety while also being an expression of anxiety. Second, I consider the role anxiety plays in altering our relationship to other people. Instead of a fluid interplay between oneself and another, I argue that the pandemic has shifted our relationship to other people through concealing the expressivity of the body. I conclude by considering how these aspects can challenge conventional ideas of phenomenology while also underscoring the necessity of a critical approach. (shrink)

The subject of my paper is to examine nostalgia as “involuntary memory” in Andrei Tarkovsky’s movie Nostalghia. Tarkovsky understands filming as “sculpting in time.” In his book with the same title he writes that “time and memory merge into each other.” In order to understand this we have to distinguish between a voluntary memory, which refers to the intentional effort to remember, and the involuntary memory, which is like a force that comes over us, that affects us. The latter is (...) especially the case with nostalgia. In nostalgia we can find a revision of the past but the revised version of the past is not primarily about the production of a new representation of memory but more a case of re-experiencing the same past through returning to it, particularly in an embodied manner. Nostalgia is a particular mode of “memory of place.” Places we inhabit or pass through leave an impact on us, for we are bodily subjects and as such we have a relationship with the places that surround us. What Tarkovsky’s movie Nostalghia shows is how the spatio-temporality of the present is “haunted” by the superimposed appearance of the past. Nostalgia is a movement of seeping returns. The past transpires in the present, and Tarkovsky makes this structure visible in using the visual medium of film. He shows how the texture of the everyday world fuses with the imagined memory of the past. In my paper, I construe this nostalgic experience provided by Tarkovsky. (shrink)

Through the many reinterpretations of Freud’s essay Das Unheimliche (1919) within French Postmodernism, in recent decades, the uncanny has become a vague synonym for the methodology of deconstruction. The article aims to disambiguate the uncanny by reestablishing its characterizing nucleus and relocating it within the aesthetics through the philosophy of Stanley Cavell. The American philosopher claims that this feeling can be generated by drawing attention to the ordinary, which is so close and familiar to fade out of focus. Cavell and (...) the German Philosopher Juliane Rebentisch following him show that artistic practices can reinforce this experience, as through displacements and dislocations, they deprive objects of daily use and ordinary matters of their familiarity and force us to look more closely at their material, sensorial, and phenomenological dimensions. In this way, Cavell and Rebentisch offer a path to reconstitute a stable conceptual framework for defining the uncanny, linking it to Freud’s definition of something familiar appearing in an unfamiliar light. At the same time, they also propose a novelty by interpreting the uncanny not as inherently frightening and disturbing but as a compelling affective state that encourages a willingness to reappropriate and rediscover the ordinary. (shrink)

This paper aims to examine the very unstable concept of the “uncanny” from an atmospherological point of view. Its official theoretical “sanction” is due to Heidegger, who considered it the latent but fundamental ground of any being-in-the-world, and especially to Freud, who described it as the feeling that arises when something familiar suddenly becomes unfamiliar. Freud claimed to be inspired in this conception by Schelling's definition of unheimlich, which I try to explain to better understand what an uncanny atmosphere is. (...) It seems characterized by elements such as ontological ambiguity-vagueness and paranoid subjectification, alien corporeality and unpredictable situations. The paper ends with a brief analysis of the specific uncanny of houses, both in terms of their transformation from a secure interior to an uncanny place and in terms of the anxiety about materially inheriting a house and thus cohabiting with the past. In the perspective adopted here, the uncanny shows that we are not at home within our own body because we always coexist with an external-foreign and in this sense “monstrous” presence. (shrink)