In this book, Andrew Inkpin considers the disclosive function of language—what language does in revealing or disclosing the world. His approach to this question is a phenomenological one, centering on the need to accord with the various experiences speakers can have of language. With this aim in mind, he develops a phenomenological conception of language with important implications for both the philosophy of language and recent work in the embodied-embedded-enactive-extended tradition of cognitive science. -/- Inkpin draws extensively on the work (...) of Martin Heidegger, Maurice Merleau-Ponty, and Ludwig Wittgenstein, showing how their respective conceptions of language can be combined to complement each other within a unified view. From the early Heidegger, Inkpin extracts a basic framework for a phenomenological conception of language, comprising both a general picture of the role of language and a specific model of the function of words. Merleau-Ponty’s views are used to explicate the generic “pointing out”—or presentational—function of linguistic signs in more detail, while the late Wittgenstein is interpreted as providing versatile means to describe their many pragmatic uses. Having developed this unified phenomenological view, Inkpin explores its broader significance. He argues that it goes beyond the conventional realism/idealism opposition, that it challenges standard assumptions in mainstream post-Fregean philosophy of language, and that it makes a significant contribution not only to the philosophical understanding of language but also to 4e cognitive science. (shrink)

Whether or not Merleau-Ponty’s version of phenomenology should be considered a form of ‘transcendental’ philosophy is open to debate. Although the Phenomenology of Perception presents his position as a transcendental one, many of its features—such as its exploitation of empirical science—might lead to doubt that it can be. This paper considers whether Merleau-Ponty meets what I call the ‘transcendentalist challenge’ of defining and grounding claims of a distinctive transcendental kind. It begins by highlighting three features—the absolute ego, the pure phenomenal (...) field, and the reduction—that Husserl had used to justify claims of a specifically transcendental kind within a phenomenological framework. It then examines how Merleau-Ponty modifies each of these features to focus on the lived body and a factically conditioned phenomenal field, while remaining ambivalent about the reduction. Finally, it assesses whether Merleau-Ponty’s modified position can still legitimately be considered transcendental. I argue that—despite his own rhetoric—this modified position shapes the modality of Merleau-Ponty’s claims in such a way that his phenomenology cannot meet the transcendentalist challenge and therefore should not be considered ‘transcendental.’. (shrink)

A distinctive feature of Merleau-Ponty’s thought is the central role he assigns style in generally characterizing embodied agents’ perceptual and cognitive functioning. Despite this, he says little to explain how he conceives style itself. This article therefore aims to clarify Merleau-Ponty’s notion of style and its significance within and beyond his work. It begins by surveying his broad application of the term and using his discussions of painting to reconstruct his conception of style, identifying two major roles Merleau-Ponty attributes it (...) in unifying intentional structures and founding conceptual meaning. His view is related to several competing philosophical conceptions of style to highlight its distinctiveness and some conceptual difficulties in adequately defining style. I then argue that Merleau-Ponty succeeds in coherently distinguishing style from rules by recognizing that style conceives pattern formation, especially the relation of general and particular, in a way contrasting with the identity-based thinking inherent in the functioning of rules. With this distinction I conclude that, although Merleau-Ponty overgeneralizes its role, his conception of style has broader philosophical significance in accurately capturing the nonmechanical cohesion of certain embodied intelligent activities (such as painting) and enabling better understanding of the variety of forms such activities can take. (shrink)

Being and Time’s emphasis on practical activities has attracted much attention as an approach to meaning not modelled exclusively on language. However, understanding this emphasis is made more difficult by Heidegger’s notion of Rede, which he routinely characterizes as both language-like and basic to all disclosure. This paper assesses whether this notion can be both interpreted coherently and reconciled with Heidegger’s emphasis on intelligent nonlinguistic behaviours. It begins by identifying two functions of Articulacy – the demonstrative and articulatory – and (...) a potential source of incoherence in Heidegger’s analysis. Having reviewed some standard approaches to Heideggerian Articulacy, I show how Heidegger’s discussion of predicative judgements implies that language can be linked with different kinds of content. This allows Heidegger’s analysis to be read coherently, provided Articulacy is understood as having distinct purposive and predicative modes. The final section shows how this reading preserves a close connection between Articulacy and language while accommodating intelligent nonlinguistic behaviours. (shrink)

This article focuses on the difficulty for a general theory of depiction of providing a notion of pictorial content that accommodates the full diversity of picture types. The article begins by introducing two basic models of pictorial content using paradigmatic positions that maximize the ability of the respective models to deal with pictorial diversity. Kulvicki's On Images is interpreted as a generalized projection-based model which proposes a scene-centred notion of pictorial content. By contrast, Lopes's aspect-recognition theory, in Understanding Pictures, is (...) taken to exemplify a recognition-based model of pictorial content. It is then considered how applicable these two notions of pictorial content are to a spectrum of different picture types, highlighting differences between mechanically produced and “freehand” pictures. It is shown that while the projection-based and recognition-based models are each required for some picture types, neither model can be applied over the whole spectrum of diverse picture types. This, it is argued, has the far-reaching consequence that neither the projection model nor the recognition model, nor any unitary combination of the two, can provide the basis for a theory of depiction applying to all pictures. (shrink)

Given its apparently scholarly form, the Genealogy of Morals is often read as a succinct, relatively systematic, and canonical exposition of Nietzsche’s mature views on morality. This article argues, however, that the work was intended as a parody of a scholarly treatise and examines how this parody is best understood. It begins by surveying some evidence that supports reading the Genealogy as a ‘textbook’ presentation of Nietzsche’s views. It then develops an exegetic case for reading it as a work of (...) parody, based on the third essay’s claims about the ‘self-cancellation’ of truth-directed discourse and how to oppose the ascetic ideal, along with the Genealogy’s internal organization and its place in Nietzsche’s oeuvre. Finally, it examines whether this parody is best interpreted philosophically as having the force of a strong parody that denies the possibility of truth-directed enquiry or that of a weak parody denying the intrinsic value of such enquiry. Although reading it as a strong parody perhaps makes it more radical and potentially appealing, I argue that the Genealogy is best read as a weak parody, because this is both more tenable and suffices for the claims Nietzsche himself makes about the work’s aims and character. (shrink)

Whether or not Merleau-Ponty’s version of phenomenology should be considered a form of ‘transcendental’ philosophy is open to debate. Although the Phenomenology of Perception presents his position as a transcendental one, many of its features—such as its exploitation of empirical science—might lead to doubt that it can be. This paper considers whether Merleau-Ponty meets what I call the ‘transcendentalist challenge’ of defining and grounding claims of a distinctive transcendental kind. It begins by highlighting three features—the absolute ego, the pure phenomenal (...) field, and the reduction—that Husserl had used to justify claims of a specifically transcendental kind within a phenomenological framework. It then examines how Merleau-Ponty modifies each of these features to focus on the lived body and a factically conditioned phenomenal field, while remaining ambivalent about the reduction. Finally, it assesses whether Merleau-Ponty’s modified position can still legitimately be considered transcendental. I argue that—despite his own rhetoric—this modified position shapes the modality of Merleau-Ponty’s claims in such a way that his phenomenology cannot meet the transcendentalist challenge and therefore should not be considered ‘transcendental.’. (shrink)

This article focuses on Beauvoir’s critique of the “adventurer”, an apparently Nietzschean figure she depicts as “inauthentic” in The Ethics of Ambiguity. Its aim is to assess whether her criticisms of individualistic freedom amount to a tenable critique of Nietzsche. I start by outlining Beauvoir’s conception of the adventurer and his faults, before showing how this figure closely tracks distinctive features of Nietzsche’s “free spirit”. Finally, I evaluate whether or not Beauvoir’s criticisms apply to Nietzsche. Although he can be defended (...) to some extent, I argue that Beauvoir shows how Nietzsche’s otherwise potentially attractive concept of the free spirit is more problematic than it might initially appear. [NB this article is in German.]. (shrink)

Richard Rorty’s Contingency, Irony and Solidarity (CIS) is an ambitious and provocative, but for many readers a deeply flawed work. This paper argues that many of its apparent flaws can be understood as integral to Rorty’s attempt to write a work of private, post-theoretical irony. The paper’s first section outlines the substantive theoretical claims about language, selfhood and community which Rorty proposes as an antiessentialist alternative to ‘metaphysics’. The second identifies three difficulties—residual dualism, conceptual problems with the public-private distinction, and (...) the work’s self-referential consistency—which constitute serious, but obvious problems for those substantive claims. The third section argues that Rorty’s metaphilosophical discussion of ‘ironist theory’ suggests CIS should be read as a personal work of irony which eschews theoretical ambitions, showing how this is consistent with and provides a motive for accepting the presence of conspicuous difficulties. The final section considers how the work’s metaphilosophical views interact with its substantive theoretical claims. The work’s irony is interpreted as resulting from the tension between these, so as to coexist rather than conflict with Rorty’s enduring commitments to liberalism and pragmatism. (shrink)

Although it was never the central focus of his philosophical interests, Merleau-Ponty is one of few philosophers to conceive painting as having an exemplary role not merely as a form of art but mor...

In The Visible and the Invisible Merleau-Ponty develops a notion of ‘sensible ideas’ that conceives general meaning as inseparable from its realization in sensible particulars. Such ideas – exemplified by music – are to capture the specificity of the meaning produced by embodied agency and serve as the foundation of all cognition. This article argues that, although Merleau-Ponty overgeneralizes their application, sensible ideas are philosophically important in enabling better understanding of the diverse forms and functions embodied-embedded practices and cognition can (...) take. It begins by outlining Merleau-Ponty’s conception of sensible ideas and showing how this late ‘ontological’ view takes up and refines themes from his earlier works. It then assesses sensible ideas’ assumed foundational role by considering several embodied practices (mathematics, music, painting), arguing that this does not hold generally and that painting better exemplifies sensible ideas than music. I show that whether a practice is accurately described by sensible ideas depends on how it relates the particular and general, and that sensible ideas have a distinctive philosophical role in understanding the non-identity-based meaning constitution characteristic of some embodied-embedded practices. Finally, a comparison with Kant’s aesthetic ideas is used to clarify the close but non-necessary relation between sensible ideas and art. (shrink)

Language is indisputably in some sense a social phenomenon. But in which sense? Philosophical conceptions of language often assume a simple relationship between individual speakers and a language community, one of which is attributed primacy and used to understand the other. Having identified some problems faced by two such conceptions—social holism and individualism—this article outlines an alternative phenomenological view of shared language by focusing on two principal ways that language is shared. First, it draws on the late Wittgenstein to characterize (...) how shared practices ground linguistic communities. Based on the link between language-games and corresponding subcommunities of language users, I argue that pragmatic language sharing is more fragmented than social holism suggests but more cohesive than individualism intimates. Second, it considers how linguistic community is grounded in shared sign systems. Merleau-Ponty’s appropriation of Husserl’s notion of institution is used to highlight that existing linguistic structures are adopted in an open process that allows varying degrees of differentiation. Combining these two perspectives, I conclude that who we are in linguistic community with and how closely we converge varies over different parts of language. Our linguistic communities are thus complex in the sense of being fragmented, differentiated and nonuniform. (shrink)

This article argues that paintings have a nonconceptual content unlike that of mechanically produced images. The first part of the article outlines an information-theory approach modelled on the camera and based on the idea that pictures convey information about what they depict. Picture structure is conceived of as contentful by virtue of a supposed causal link with what is depicted and as nonconceptual because it is independent of observers’ understanding. The second part introduces an embodied depiction approach based on Merleau-Ponty’s (...) view of style and the act of painting. It is argued that because of bodily mediation the nonconceptual content of paintings cannot be assimilated to the information-theory approach; painted configurations are contentful by virtue of being the product of intelligent activity, but are nonconceptual because they differ from concepts in their representational function. (shrink)

Zunächst wird dargelegt, wie Heidegger bei seinem Anschluß an Husserls Projekt einer radikalen Phänomenologie ein deutlicheres Verständnis für die methodologische Rolle von Voraussetzungen entwickelt. Die Idee der formalen Anzeige, die Heideggers Schriften um 1920 durchzieht, wird als ein nichtsetzender, schematischer Modus des Zeichengebrauchs expliziert, der auf wiederholte phänomenologische Auslegung abgestimmt ist. Abschließend wird dargelegt, wie diese Idee auf eine Umdeutung des Wesens von „Voraussetzungen“ hinausläuft, und erwogen, was dies für das ambivalente Verhältnis von Heidegger zu Husserl zeigt. / -/- It (...) is first argued that, impressed by Husserl’s project of radical phenomenology, Heidegger is more aware of the methodological significance of presupposition to that project. The idea of formal indication, prominent in Heidegger’s writings around 1920, is then expounded as a nonpositing, schematic mode of sign use attuned to ongoing phenomenological interpretation. Finally, I set out how this idea implies a reinterpretation of the nature of „presuppositions“ and consider what this reveals about Heidegger’s ambivalent relationship to Husserl. (shrink)

This article focuses on the relation between philosophy and literature in early Sartre, showing how his literary writing can be seen as philosophically significant by interpreting Sartre as practising a variant of phenomenological method. I first clarify Sartre’s approach to phenomenological method by comparing and contrasting it with Husserl’s. Despite agreeing that philosophy is a reflective descriptive study of essences, Sartre sees no use for phenomenological reduction and free variation. I then consider the philosophical function of Sartre’s literary works, arguing (...) that, although these cannot reliably convey philosophical theories, their significance lies in describing concrete situations that ground reflective theoretical concepts. However, this grounding function can be understood only if Sartre is seen as realising Husserl’s phenomenological method – including phenomenological reduction and free variation – more fully than he acknowledges. Finally, I address two challenges to my view and briefly assess the value of literary phenomenology as a philosophical method. (shrink)

In recent years there has been much productive interaction between phenomenological authors and work in (‘4e’) cognitive science emphasizing the embodied, embedded, enactive and extended nature of cognition. These interactions have centred on areas of interest common to phenomenology and philosophy of mind, such as embodiment or first-personal experience, with language receiving relatively little attention. This paper aims to broaden these interactions by showing how phenomenology of language complements systematic empirical theories in the 4e tradition. It begins by outlining a (...) phenomenological view of language and suggesting some differences between this and plausibly naturalizable nonextended mental states. I then argue that 4e cognitive science has a general need for phenomenology of language due to the central role it attributes to ‘scaffolds’, before highlighting more specifically how phenomenology provides an image of language better suited to 4e cognitive science than the ‘rules and representations’ model from which this distances itself. (shrink)

In the course of recent debate with Hubert Dreyfus John McDowell emphasizes the notion of conceptual form or shape to explain how conceptual capacities are ‘operative’ in prereflective ‘coping’ activities. This paper considers how that notion is to be interpreted. In particular it considers whether or not it imposes a determinate constraint on the form of content and argues that both interpretations are unsatisfactory. Assuming conceptual form to be determinate is unnecessary to explain the universal applicability of concepts and conflicts (...) with an argument McDowell uses against Evans. Attempting to avoid this conflict by leaving it indeterminate makes talk of conceptual form misleading, reducing it to an imprecise way of affirming our ability to apply concepts to subject-matter of any form whatever. As a consequence, Dreyfus’s challenge to McDowell cannot be met by appealing to the notion of conceptual form or shape. I further argue that it remains a puzzle how McDowell’s notion of conceptual form is to be understood, and that the difficulties with his response to Dreyfus point to an underlying tension between various claims McDowell makes about conceptual capacities. (shrink)

This paper considers what it is to abstract from nature. Using examples from painting its first part examines the traditional contrast between abstraction and naturalistic representation, arguing that this relies on a specifically visual notion of representation, but not on what is natural or what is abstract. Its second part discusses examples from land art in which natural elements are incorporated in an artwork’s structure. An alternative view of modern art’s representational possibilities is outlined which highlights limitations of the specifically (...) visual approach and suggests a more complex relationship between the representation of nature and possible modes of abstraction. (shrink)