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The Rhythm of Thought: Art, Literature, and Music After Merleau-Ponty

Chicago: University of Chicago Press (2013)

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  1. Merleau-Ponty and the art of perception.Duane Davis (ed.) - 2016 - Albany: State University of New York Press.
    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 (...)
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  • The Art of Perception.Duane H. Davis - 2016 - In Duane Davis (ed.), Merleau-Ponty and the art of perception. Albany: State University of New York Press. pp. 3-52.
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  • On the Petite Phrase of Proust and the Experience of Empathy: Exploring the Rhythmical Structure of Music.Jessica Wiskus - 2019 - Journal of the British Society for Phenomenology 50 (3):264-277.
    ABSTRACTHow does music have the power to speak to us as if it were a living being, endowed with subjectivity? Do we empathize with music? Ordinarily we consider our perception...
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  • From the Body to the Melody: “Relearning” the Experience of Time in the Later Merleau-Ponty.Jessica Wiskus - 2018 - Avant: Trends in Interdisciplinary Studies 9 (2):129-140.
    If, as Maurice Merleau-Ponty writes, “True philosophy consists in relearning to look at the world,” and if Merleau-Ponty is accordingly often described as a philosopher of the body or a philosopher of painting, how are we to understand the apparently new turn to music that Merleau Ponty makes toward the end of the final completed chapter, entitled “The Intertwining—The Chiasm,” of The Visible and the Invisible? I argue that the course of the “Chiasm” chapter moves from a concern for the (...)
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  • Musical Phenomenology: Artistic Traditions and Everyday Experience.Małgorzata A. Szyszkowska - 2018 - Avant: Trends in Interdisciplinary Studies 9 (2):141-155.
    The work begins by asking the questions of how contemporary phenomenology is concerned with music, and how phenomenological descriptions of music and musical experiences are helpful in grasping the concreteness of these experiences. I then proceed with minor findings from phenomenological authorities, who seem to somehow need music to explain their phenomenology. From Maurice Merleau-Ponty to Jean-Luc Nancy and back to Edmund Husserl and Martin Heidegger, there are musical findings to be asserted. I propose to look at phenomenological studies of (...)
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  • From “Block-Things” to “Time-Things”: Merleau-Ponty’s temporal ontology in part two of the phenomenology of perception.David Morris - 2019 - Continental Philosophy Review 53 (1):1-19.
    Scholars such as Renaud Barbara and Bernhard Waldenfels and Regula Giuliani have emphasized time’s central role in Merleau-Ponty’s philosophy, and Michael Kelly has shown how the Phenomenology’s “Temporality” chapter already broaches his later ontological concerns. I deepen our understanding of this temporal–ontological nexus by showing how Merleau-Ponty’s temporal ontology in fact erupts even earlier in the Phenomenology, as an underlying theme that unifies part two, on “The Perceived World,” as leading into the “Temporality” chapter. I do this via a close (...)
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  • Phenomenological Comparison: Pursuing Husserl’s “Time-consciousness” in Poems by Wang Wei, Paul Celan and Santoka Taneda.Yi Chen & Boris Steipe - 2017 - Comparative and Continental Philosophy 9 (3):241-259.
    ABSTRACT“Time-consciousness” constitutes the core of Edmund Husserl’s phenomenology. Extending from a project of reviving the comparative method, we develop Husserl’s phenomenological analysis of time as a method of literary comparison. Three views of time set the stage: the quatrain “Luán’s Fall” by the eighth-century Chinese poet Wang Wei, a stanza from the poem “Etched off‌” by Paul Celan, the quintessential post-war poet in German language, and the haiku “Walking, on and on” by the Japanese itinerant monk and free-verse haiku pioneer (...)
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  • Beyond the ‘Last Phenomenology’: Rhythmic Modulations in Gilles Deleuze’s The Logic of Sensation.Iain Campbell - 2023 - Deleuze and Guattari Studies 17 (3):301-325.
    This article reconstructs Gilles Deleuze’s engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze’s adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze’s complexification of rhythm and his development of a logic (...)
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  • Existentialist Aesthetics.Jean-Philippe Deranty - 2009 - Stanford Encyclopedia of Philosophy.
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