Reflections on Feminist Merleau‐Ponty Skepticism

Shannon Sullivan's critique of Merleau‐Ponty's Phenomenology of Perception is based on the argument that, due to his concept of the “anonymous body,” his theory of intersubjectivity omits the particularities of bodies, such as gender. 1 argue that Merleau‐Ponty's “anonymous body” (le corps phénoménal) is not in fact “neutral” as Sullivan suggests, and moreover that he does not ignore differences but rather provides us with the idea of difference as a process of differentiation. Additionally, I argue that Sullivan's concept of “hypothetical construction,” which is introduced as an alternative to Merleau‐Ponty, turns out to be a conscious construction, not reflecting upon its very conditions. Thus, Sullivan's account fails by presupposing what in fact needs to be explained: the particularities.     

Feminism and Phenomenology: A Reply to Silvia Stoller

Responding to Silvia Stoller's comments on “Domination and Dialogue in Merleau‐Ponty's Phenomenology of Perception” ( Sullivan 1997 ), I argue that while phenomenology has much to offer feminism, feminists should be wary of Merleau‐Ponty's notion of projective intentionality because of the ethical solipsism that it tends to involve. I also take the opportunity to clarify the concept of hypothetical construction introduced in the earlier paper, in particular the transformative relationship that it has to pre‐reflective experience.     

Crossing Lovers: Luce Irigaray's Elemental Passions

Luce Irigaray's Elemental Passions could be read as a response to Merleau‐Ponty's article “The Intertwining—The Chiasm” in The Visible and the Invisible. Like Merleau‐Ponty, Irigaray describes corporeal intertwining or vision and touch. Counteracting the narcissistic strain in Merleau‐Ponty's chiasm, she assumes that sexual difference must precede the intertwining. The subject is marked by the alterity or the “more than one” and encoded as a historically contingent gendered conflict.     

Feuerbach's theory of object‐relations and its legacy in 20th century post‐Hegelian philosophy

This paper focuses on the way in which Feuerbach's attempt to develop a naturalistic, realist remodeling of Hegel's relational ontology, which culminated in his own version of “sensualism”, led him to emphasize the vulnerability of the subject and the role of affectivity, thus making object‐dependence a constitutive feature of subjectivity. We find in Feuerbach the first lineaments of a philosophical theory of object‐relations, one that anticipates the well‐known psychological theory of the same name, but one that also offers a broader metaphysical basis in which all types of “essential objects” are shown to matter to subjectivity. This Feuerbachian theory of object‐relations, the paper then argues, foreshadows a number of important developments in 20th century post‐Hegelian philosophy. In it can be found an anticipation of Adorno's later theory of mimesis. Equally, this theory already emphasizes the “libidinal” nature of intentionality, in a way that announces Merleau‐Ponty's ontology of the flesh. Finally, the last section of the article proposes a model with which we might reconstruct the way in which object‐relations and self‐relations can be brought together consistently. In this instance, Feuerbach uses concepts that announce Freud's notion of “primary narcissism”. One contemporary philosopher who has proposed a sophisticated model of subjectivity, in which primary narcissism is shown to complement object‐dependence, is Axel Honneth. The last section argues that Feuerbach's full image of subjective identity as reciprocal scaffolding of self‐ and object‐relations reminds strongly of Honneth's core concept of “positive self‐relation”.     

Institute report: The annual summer program in phenomenology

Abstract

This article presents Merleau‐Ponty's concept of “flesh” as a possible factor in the (re)defining of the Rogerian theory in terms of its concept (perspective) of man and the world. It describes Merleau‐Ponty's study of phenomena, emphasizing those aspects which are most closely related to his concept of man, on the course which brings one to his concept of “flesh.” It will include some cases of therapeutic treatment from the view point of “man in the world,” which is proposed by the philosopher.     

The Phenomenology of Rheumatology: Disability,Merleau‐Ponty,and the Fallacy of Maximal Grip

This paper charts the concepts of grip and the bodily auxiliary in Maurice Merleau‐Ponty to consider how they find expression in disability narratives. Arguing against the notion of “maximal grip” that some commentators have used to explicate intentionality in Merleau‐Ponty, I argue that grip in his texts functions instead as a compensatory effort to stave off uncertainty, lack of mastery, and ambiguity. Nearly without exception in Phenomenology of Perception, the mobilization of “grip” is a signal of impending loss, and is offered as a strategy for managing failure rather than as an example of sure‐footed mastery. I read Merleau‐Ponty alongside Mary Felstiner's Out of Joint: A Public and Private Story of Arthritis to explore these other, attenuated dimensions of grip. Finally, the paper turns to Harriet McBryde Johnson's memoir Too Late to Die Young as an example of a way of thinking disabled embodiment otherwise.     

Transforming the Problem of the Other: Rethinking Merleau‐Ponty's Itinerary

This essay offers a new understanding of Merleau‐Ponty's notion of the Other, the problem that revolves around it, and its far‐reaching repercussions by shedding light on aspects that usually go unnoticed in the interpretation of his late thought in these regards. I show how Merleau‐Ponty's emerging ontology in his late writings opens anew, in a complex manner, the problem of the Other, transforming it in a way that dismantles, to begin with, traditional epistemological questions regarding the Other, as well as principal difficulties regarding the Other's appearance within the realm of phenomena which have occupied phenomenology from its very beginning. I demonstrate how Merleau‐Ponty's late writings in fact bind the problem of the Other with the question regarding the very limits of phenomenology and the realm of meaning as a whole.     

Merleau‐Ponty and the Phenomenological Reduction

It is commonly believed that Merleau‐Ponty rejected Husserl's phenomenological reduction in favour of his existentialist account of être au monde. I show that whilst Merleau‐Ponty rejected what he saw as the transcendental idealist context in which Husserl presents the reduction, he nevertheless accepts the heart of it, the epoché, as a methodological principle. Contrary to a number of Merleau‐Ponty scholars, être au monde is perfectly compatible with the epoché, and Merleau‐Ponty endorses both. I also argue that it is a mistake to think that Merleau‐Ponty's liberal use of the results of empirical psychology signifies a rejection of the epoché. A proper understanding of his views on the relation between phenomenology and psychology is that, at least in Merleau‐Ponty's eyes, the methods of phenomenology and the empirical sciences are largely similar. I conclude that we have every reason to think that Merleau‐Ponty accepted Husserl's demand that the phenomenologist place the world in brackets.     

Visual Consciousness and The Phenomenology of Perception

Ideally, psychological and phenomenological studies of visual experience should be mutually informative. In that spirit, this article outlines parts of Maurice Merleau‐Ponty's phenomenological view of visual experience as a kind of independently active opaque bodily synthesis, and uses those views to (a) help ground and extend Alva Noë's rejection of the “snapshot” theory of visual experience in favor of a more enactive view of visual content, (b) critique a failing of Noë's account, and (c) show how the assumptions underlying more internalist and Cartesian views of visual experience can illegitimately creep in even when they are being carefully criticized.     

Does the Reversibility Thesis Deliver All That Merleau‐Ponty Claims It Can?

Merleau‐Ponty's reversibility thesis argues that self, other and world are inherently relational, interdependent at the level of ontology. What is at stake in the reversibility thesis is whether it overcomes skeptical objections in both assuring real communication and avoiding solipsism in assuring real difference; the Other must be a genuine, irreducible Other. It is objected that across the domains of reversibility, symmetry and reciprocity are not guaranteed. I argue that this is a non‐problem; rather the potentialities for asymmetry and non reciprocity in fact guarantee the irreducibility of the Other; reversibility needs to be appreciated as dialectical or aesthetic, not as a literal or ‘mechanistic’ reversal. A further criticism targets the viability of ontology itself, whether alterity is ever compatible with ontology. This paper considers these objections from two of Merleau‐Ponty's contemporaries—Claude Lefort and Emmanuel Levinas. Levinas developed a philosophy which while intersecting with Merleau‐Ponty's at important junctures, nonetheless arrived at an entirely different destination. I argue alongside Martin Dillon against the objections of Lefort, and alongside Dan Zahavi against the objections of Levinas. Both of these interpreters, I propose remain faithful to the core directions and spirit of Merleau‐Ponty's endeavours without becoming diverted by the less significant inconsistencies.     

Merleau‐Ponty and the significance of style

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.     

Merleau‐Ponty on abstract thought in mathematics and natural science

In this paper, I argue that in spite of suggestions to the contrary, Merleau‐Ponty defends a positive account of the kind of abstract thought involved in mathematics and natural science. More specifically, drawing on both the Phenomenology of Perception and his later writings, I show that, for Merleau‐Ponty, abstract thought and perception stand in the two‐way relation of “foundation,” according to which abstract thought makes what we perceive explicit and determinate, and what we perceive is made to appear by abstract thought. I claim that, on Merleau‐Ponty's view, although this process can sometimes lead to falsification, it can also be carried out in such a manner that allows mathematics and natural science to articulate what we perceive in a way that is non‐distortive and in keeping with the demands of perception itself.     

The Temporality of Life: Merleau‐Ponty,Bergson, and the Immemorial Past

Borrowing conceptual tools from Bergson, this essay asks after the shift in the temporality of life from Merleau‐Ponty's Phénoménologie de la perception to his later works. Although the Phénoménologie conceives life in terms of the field of presence of bodily action, later texts point to a life of invisible and immemorial dimensionality. By reconsidering Bergson, but also thereby revising his reading of Husserl, Merleau‐Ponty develops a nonserial theory of time in the later works, one that acknowledges the verticality and irreducibility of the past. Life in the flesh relies on unconsciousness or forgetting, on an invisibility that structures its passage.     

The bodily complexity of truth‐telling in qualitative research: Some implications of Gendlin's theory

Abstract

Gendlin's philosophy of the body is used as an approach to the “truth values” of qualitative research. In this view, our bodily participation in life provides a grounded quality to understanding, a shared reference point for an experientially‐grounded language that can “'work.” This understanding is a bodily‐informed practice and involves the body's access to “more than words can say.” As such, the body is intimate to understanding and such bodily‐informed sense‐making adds a dimension to the ways we have access to and present truth. Implications of this approach for qualitative methodology will be discussed, in particular the implications for the informant's task, the interviewer's task, the task of analysis and the task of the reader.     

Phenomenological reduction in Merleau‐Ponty's The Structure of Behavior: An alternative approach to the naturalization of phenomenology

Approaches to the naturalization of phenomenology usually understand naturalization as a matter of rendering continuous the methods, epistemologies, and ontologies of phenomenological and natural scientific inquiry. Presupposed in this statement of the problematic, however, is that there is an original discontinuity, a rupture between phenomenology and the natural sciences that must be remedied. I propose that this way of thinking about the issue is rooted in a simplistic understanding of the phenomenological reduction that entails certain assumptions about the subject matter of phenomenology and its relationship to the natural sciences. By contrast, Merleau‐Ponty's first work, The Structure of Behavior, presents a radically different approach to the phenomenological reduction, one that traverses the natural sciences and integrates them into phenomenology from the outset. I outline the argument for this position in The Structure of Behavior and then discuss consequences for current methodological issues surrounding the naturalization of phenomenology, focusing on the relationship between empirical sciences of mind, phenomenological psychology, and transcendental phenomenology. This novel exegesis of Merleau‐Ponty's view on the reduction offers new insight into his oft‐quoted remark that the phenomenological reduction is impossible to complete.     

Merleau‐Ponty on painting and the problem of reflection

The challenge of “catching experience in the act” is commonly recognized as a problem for phenomenological reflection. After tracing this “problem of reflection” to its origin in Natorp's Allgemeine Psychologie and discussing Husserl's critical response, I argue that Merleau‐Ponty recognizes that a version of it poses a genuine problem for phenomenology in the form of what he calls “objective thought.” Seen in light of his concern for the distortion of objective thought, his attention to indeterminacy and distortion in the portraits and still lifes of Cézanne takes on philosophical significance. I analyze how Merleau‐Ponty sees phenomenological concepts such as style, horizons, and coherent deformation at work in a number of paintings and suggest how such features remedy objective thought by resisting the tendency for reflection on ordinary perception to mistake objective properties of objects for properties of the experience in which they are given.     

Beauvoir,the Scandal of Science,and Skepticism as Method

In The Ethics of Ambiguity (herein the Ethics), Simone de Beauvoir declares that science condemns itself to failure if it takes as its task the total disclosure of being (Beauvoir 1948/1976, 130). I suggest that the Ethics actually parallels the spirit of some scientific programs, specifically those that utilize positive skepticism as method. I draw out connections among the Ethics, Maurice Merleau‐Ponty's Phenomenology of Perception (Merleau‐Ponty 1945/1962) to which Beauvoir's works show much likeness, and Francis Bacon's The New Organon (Bacon 1620/2000), the latter being at once a scientific and a positive skeptical program. Underscoring the ways in which Beauvoir's method of interrogating the being of beings and reality is compatible with some scientific pictures is important. It complicates the usual thought that existentialism is antiscience, problematizes Beauvoir's overly simplistic depiction of science, and nuances her analysis of the existent's experience of itself.