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By Glen A. Mazis
Earlier than his demise in 1961, Merleau-Ponty nervous approximately what he observed as humanity s more and more self-enclosed and manipulative manner of experiencing self, others, and the realm the implications of which stay obvious in our damaging lack of ability to hook up with others inside and throughout cultures. In Merleau-Ponty and the Face of the World, Glen A. Mazis presents an total attention of Merleau-Ponty s philosophy that brings out what he sees as a corrective prescription for moral reorientation that's primary to Merleau-Ponty s proposal. Mazis starts by means of studying the major position that silence performs for Merleau-Ponty as a good, robust presence instead of an absence or vacancy, after which builds in this to discover the moral value of the face-to-face stumble upon in his idea as one among harmony instead of legal responsibility. within the final a part of the booklet, Mazis lines the advance of what he calls physiognomic mind's eye in Merleau-Ponty s paintings. This knowing of mind's eye isn't fancy or make-believe, yet really brings out the depths of perceptual that means and results in an appreciation of poetic language because the key to revitalizing either ethics and ontology. Drawing on Merleau-Ponty s released works, lecture notes, unpublished writings, and the paintings of many phenomenologists and Merleau-Ponty students, Mazis additionally bargains incisive readings of Merleau-Ponty s paintings because it pertains to that of Antoine de Saint-Exupery, Gaston Bachelard, and Emmanuel Levinas.
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Additional resources for Merleau-Ponty and the Face of the World: Silence, Ethics, Imagination, and Poetic Ontology
Sample text
Merleau-Ponty calls the formulation of the concern whether speech is adequate to what it describes a naiveté, as it fails to realize that silence rests on language and language rests on silence. ”25 It is not a matter of getting back to a “pure” Language as a Power for Error and Violence 17 experience and “capturing” it in language, which traditional philosophy has failed to achieve. Rather, recognizing that “this silence will not be the contrary of language,” what is needed is another sort of use of language that allows the silence within it to come forth in a heightened manner and not be screened away or covered over (along with the realm of experience from which it stems).
In our current postmodern existence, it seems that silence is increasingly banished. Walking down the street, or even through the hush of the woods, many people have cell phones pressed to their ears or iPods wired into them. There is not only a continual sonic input, but a bombardment of communicated signs of varied sorts. As Salomé Voegelin states in her insightful exploration of listening to noise and to silence, “Being a critical listener is listening to silence and being able to bare to hear yourself.
It is a waiting without imposing expectation of form and content. There is an attentiveness that takes in these tracings through the opening of a caesura in the flow of sound, motion, and thought that is another constituent of the silence. This focused attentiveness is like the silence of a kiss, but here it is a kiss with the world though perception. “Coming from the other side” in this dyad of perceiver and perceived, the silence of the world’s gestures is a silent speaking indirectly through movement’s qualities of shape, rhythm, pace, and so on.