Abstract

The paper discusses Merleau-Ponty’s Phenomenology of Perception as a phenomenology of art. The prevalence of examples from the arts in his text indicates that works of art possess the very same dynamic of reflexivity that the phenomenological project as a whole seeks to develop. Furthermore, by way of confrontation with works of art, the project is driven to transcend itself – or more precisely: to reflect itself. This »new style« of reflexivity may be discussed as »aesthetic incorporation.«