Research in Phenomenology 45 (3):369-385 (2015)

Donald A. Landes
Université Laval
_ Source: _Volume 45, Issue 3, pp 369 - 385 In “The Vestige of Art,” Jean-Luc Nancy argues that art is neither representation nor inscription, but rather _exscription_. The figure is the vestige of an expressive gesture; it represents neither a separable idea nor the one who traced it but, rather _exscribes_ their presence and their world in the event of expression. As such, Nancy’s aesthetics in _The Muses_ deploys a certain logic of expression best understood in the tradition of Merleau-Pontian phenomenology. Echoing Merleau-Ponty’s notion of speech accomplishing, rather than translating, thought, Nancy’s understanding of the expressive gesture suggests an event that brings forth a self that does not pre-exist its expression and that is paradoxically always already past, always already fallen into material vestiges. By connecting Merleau-Ponty’s notion of a “past that has never been present” to Nancy’s concept of _exscription_, I argue that reading Nancy’s _The Muses_ and Merleau-Ponty’s “Eye and Mind” together suggests an importantly restructured “phenomenology” of painting that is in fact more of an ontology of intercorporeality
Keywords painting   ontology   Nancy   expression   Merleau-Ponty
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DOI 10.1163/15691640-12341318
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References found in this work BETA

Eye and Mind.Maurice Merleau-Ponty - 1964 - In The Primacy of Perception. Evanston, USA: Northwestern University Press. pp. 159-190.
The Paradox of Expression.Bernhard Waldenfels - 2000 - In Fred Evans & Leonard Lawlor (eds.), Chiasms: Merleau-Ponty's Notion of Flesh. Suny Press. pp. 89-102.

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