By Maurice Merleau-Ponty
Portray doesn't imitate the area, yet is a global of its own.\' In 1948, Maurice Merleau-Ponty wrote and brought on French radio a sequence of 7 lectures at the subject matter of notion. Translated the following into English for the 1st time, they give a lucid and concise perception into one of many nice philosophical minds of the twentieth-century. those lectures discover topics crucial not just to Merleau-Ponty\'s philosophy yet phenomenology as a complete. He starts via rejecting the belief - inherited from Descartes and influential inside of technology - that notion is unreliable and vulnerable to distort the realm round us. Merleau-Ponty as an alternative argues that belief is inseparable from our senses and it truly is how we make experience of the realm. Merleau-Ponty explores this guiding topic via an excellent sequence of reflections on technological know-how, area, our relations with others, animal existence and artwork. all through, he argues that notion isn't anything discovered after which utilized to the realm. As creatures with embodied minds, he reminds us that we're born perceiving and proportion with different animals and babies a kingdom of continuing, uncooked, unpredictable touch with the realm. He offers brilliant examples with assistance from Kafka, animal behaviour and particularly sleek paintings, rather the paintings of Cezanne. A thought-provoking and crystalline exploration of recognition and the senses, the area of notion is key interpreting for somebody attracted to the paintings of Merleau-Ponty, twentieth-century philosophy and artwork.
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About the Author
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Additional resources for The World of Perception
Example text
Introduction Merleau-Ponty, following Sartre, brings out the interconnectedness of our experience of things with the examples of honey and lemon. g. plastic lemons), that the existence of these expectations is brought to our attention. Merleau-Ponty’s main point, however, concerns the status of the properties manifest in ordinary experience. Because these properties, such as the sticky sweetness of honey, can be understood only in the context of our experience of them there has been a perennial temptation to regard them as superficial appearances, merely ‘secondary’ qualities which need to be backed up by intrinsic ‘primary’ qualities of things.
Lecture 3: Exploring the World of Perception: Sensory Objects Merleau-Ponty now turns to the things which fill the space of the perceived world. The view he opposes is one which regards these as substances which we experience in a variety of unconnected ways, and whose intrinsic properties have no essential relation to our experience of them. By contrast Merleau-Ponty holds that our experiences are interconnected and reveal to us real properties of the thing itself, which is much as it appears and not some hidden substance that lies beneath our experience of its appearance.
Yet the portrait is not, as Merleau-Ponty puts it, simply intended to evoke the person portrayed; that would be better achieved by a biography. Instead, the portrait has to be ‘a spectacle which is sufficient unto itself ’, something which cannot be appreciated without seeing it, and which, in the seeing of it, enables us to see the person portrayed in the painting. The meaning must be accomplished within the painting itself, and cannot depend upon a relationship to something extrinsic to the painting, even the person portrayed.
The World of Perception by Maurice Merleau-Ponty
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