Through a close reading of Judith Butler's 1989 essay on Merleau‐Ponty's “theory” of sexuality as well as the texts her argument hinges on, this paper addresses the debate about the relation between language and the living, gendered body as it is understood by defenders of poststructural theory on the one hand, and different interpretations of Merleau‐Ponty's phenomenology on the other. I claim that Butler, in her criticism of the French philosopher's analysis of the famous “Schneider case,” does not take its wider context into account: either the case study that Merleau‐Ponty's discussion is based upon, or its role in his phenomenology of perception. Yet, although Butler does point out certain blind spots in his descriptions regarding the gendered body, it is in the light of her questioning that the true radicality of Merleau‐Ponty's ideas can be revealed. A further task for feminist phenomenology should be a thorough assessment of his philosophy from this angle, once the most obvious misunderstandings have been put to the side.
Although it is well known that Gestalt theory had an important impact on Merleau-Ponty's philosophy throughout his career, there is still no detailed study either of its influence on his ideas or of his own understanding of the notoriously polysemic notion of Gestalt. Yet, this notion is a key to Merleau-Ponty's fundamental project of overcoming "objective thought" and its inherent dichotomies. By indicating how signification or ideality can be immanent in, rather than opposed to, matter, it compels us to redefine both consciousness and the world it is bound up with. The aim of this article is to clarify Merleau-Ponty's notion of Gestalt against the historical background that he refers to, including Kurt Goldstein's theory of the organism that was crucial for his interpretation.Although the importance of Gestalt theory for Merleau-Ponty is widely acknowledged, no one has yet examined its influence on his philosophy in detail. More often than not, monographs on his general thought mention its significance, but rather parenthetically, and the concept of Gestalt, with the related notions of form and structure, in Merleau-Ponty is rarely analysed against this background. 2 Moreover, the Gestalt theorists are sometimes made to include thinkers such as the neurologist Kurt Goldstein, 3 whose work was without doubt of great significance for Merleau-Ponty in this context, but precisely in that Goldstein criticised certain basic tenets of Gestalt theory.
What forms of consciousness can the subject have of her body in action? This is a recurrent issue in contemporary research on skilled movement and expertise, and according to a widespread view, the body makes itself inconspicuous in performance in favour of the object or goal that the activity is directed to. However, this attitude to consciousness in bodily performance seems unsatisfying for an understanding of skilled action, and the work of several researchers can be seen as responding to this view: Montero, Legrand, Ravn and others in the philosophy of expertise and of dance have developed various notions of consciousness and cognition to account for the mindful processes at play in performance.Two related questions can be distinguished here: (1) Is there an inherent conflict between skilled action and at least more than marginal awareness of that action, or is it possible – and even desirable – to reflect on our own performance without considerably impeding on it? (2) What forms of consciousness pertaining to the body in action must we distinguish in order to answer the first question?This paper gives an overview of this discussion, focusing on the second issue, although the first will come into play in so far as it is linked with the latter question. Drawing on Merleau-Ponty’s analyses of bodily reflection and on dancers’ descriptions, I show that there is, in phenomenological terms, a bodily level of reflection: a fully conscious and exploratory activity that is led by the skilled body, and that is explicitly aimed at by many performers.
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