This interview with David Kleinberg-Levin, Professor Emeritus in the Department of Philosophy at Northwestern University, concerns his recent trilogy on the promise of happiness in literary language. Kleinberg-Levin discusses the relationship between and among philosophy, phenomenology, and literature. Among others, he addresses questions regarding literature’s ability to offer redemption, its response to suffering and justice, literary gesture, the ethics of narrative logic, and the surface of the text.

This paper investigates the role of literature and, in particular, Proust in Merleau-Ponty’s late works’ rehabilitation of the ontology of the sensible. First, I trace Proust’s role in Phenomenology of Percpetion, contrasting it with the somewhat more paradigmatic status as a model it plays in the late works. Second, I compare this with the role of the novel as partial myth in Schelling, who also played an essential role in Merleau-Ponty’s refiguration of the sensible. I briefly trace his examination of the historical or “sociological meaning” of literature through works of the fifties, beginning with his Collège de France candidacy proposal and continuing through his examination of the rationality of modern disenchantment (Entzauberung) or dépoétization in the Adventures of the Dialectic. Finally, discussing the late analysis of Proust against this backdrop, I conclude with considerations concerning the relevance of Merleau-Ponty’s overall analysis of Proust both in his thought and contemporary literary criticism and philosophy more generally.

This article examines Maurice Merleau-Ponty’s reference to Franz Kafka’s “The Metamorphosis” and “Investigations of a Dog” in his lecture on gesture and reconciliation, “Man Seen from the Outside.” Given the centrality of gesture in Kafka’s work, this essay considers the connections between the two figures and the likely influence of Kafka on Merleau-Ponty’s concept of gesture and intentionality. It compares their respective philosophies of gesture as they relate to meaning, reliability, silence, music, and intention. Finally, Kafka’s gestural motif of the springing body is suggested as a significant example of Merleau-Ponty’s “escaping intentions,” expressing a powerful will to intend toward others.

Merleau-Ponty characterizes the poetic or literary use of language as bringing forth of sense as if it is a being that is an interlocutor with its readers. Sense will be explored as interwoven with a deeper imagination that works within the temporality of institution to become more fully manifest. Throughout the essay will be seen the overlap with Claudel’s ontology as expressed in L’Art poetique and Claudel’s approach to language. Why Merleau-Ponty’s articulation of embodiment and perception must culminate in the poetic expression of the flesh ontology will be seen in: 1) how the phenomenology of sense leads to the flesh ontology as closely tied to the literary dimension of language (resonating with Claudel’s L’Art poetique), 2) that the analysis of sense leads to the vital importance of the physiognomic or vertical imagination as opening the latent depths of perception by its expression within poetic language, and also tracing the link between metaphor and the flesh ontology, and that 3) the expression of the latent sense of perception as the interplay of lateral relations as access to Being is the reversibility of the flesh, also articulated by Claudel as co-naissance, and calls for an “interrogative knowing,” a “question-savior.” The articulation of the texture of Being is an overlapping endeavor with Claudel as the poetic articulation of a stream of sense below our reflective life.

In his discussions on literature, Merleau-Ponty often turns to the notion of deviation as a constitutive principle of literary language. Deviation indicates the capacity of a literary work (and other aesthetic objects) to transgress against its own limits and to offer an experience of otherness, or alterity. This alterity is not given in the work, but is constituted by the recipient through the more visceral and physical aspects of literary language. The recipient of the work thus adopts a second voice: that of the author or creator of the work, which is absent from the text yet is reconstructed by the reader in a post hoc manner. The analysis of Merleau-Ponty’s ideas is complemented using the aesthetic insights of Paul Valéry, from which the philosopher was greatly inspired. The essay further explores the way in which the notion of literature as deviation illuminates other aspects in Merleau-Ponty’s theory of language.

Merleau-Ponty spent the summer of 1960 in the small French village of Le Tholonet writing Eye and Mind. His choice of location was no accident. Le Tholonet was the physical and emotional epicenter of Paul Cezanne’s late painting, the ultimate proving ground of his relentless quest to reveal the truth of landscape in art.It makes perfect sense that Merleau-Ponty wrote Eye and Mind in Le Tholonet. The essay is a philosophical meditation on vision and painting. But it also is a meditation on place, in the deeply saturated sense that encompasses the landscape, its natural and human history, and the history of the painter who brought this part of Provence to universal visibility in his art. Le Tholonet is the terroir of Eye and Mind, the site and soil of this final, extraordinary expression of Merleau-Ponty’s thinking.

What resources does Merleau-Ponty’s account of the body schema offer to the Fanonian one? First I show that Merleau-Ponty’s theory of the body schema is already a theory of affect: one that does not oppose affects to intentionality, positioning them not only as sense but as force, cultivating affective agencies rather than constituting static sense content. Then I argue that by foregrounding the role of affect in both thinkers, we can understand the way in which the historical-racial schema innovates, anticipating and influencing feminist theories of the affective turn – especially Sara Ahmed’s theory of affective economies. The historical-racial schema posits the constitution of affective agencies on a sociogenic scale, and these affective economies in turn account for the possibility of the collapse of the body schema into a racial epidermal schema, a disjunction of affective intentionality Fanon calls “affective tetanization.”

Movement is crucial to Merleau-Ponty’s effort to comprehend sense, meaning as generated within being. This requires a new concept of movement, not as a dislocation within an already determinate space- or time- frame, but as a deeper, more fundamental change that first engenders space and time as determinate contexts in which movement can follow a sensible course. This poses a novel challenge: conceptualizing determinate space and time as contingently arising from a deeper sort of change, which I call templacement. I address this challenge by turning to the Mexica/Aztecs because the most basic term of their ontology is motion-change, and it is obvious to them that motion-change does not occur in an abstract space-time container. Instead, time-place is woven out of ‘prior’ motion-change. This study leads to a deeper lesson for phenomenology, regarding ‘obvious’ presuppositions about what time and philosophy obviously are – and how these presuppositions go hand in hand.

Beginning with Fanon’s challenge to the universality of the project of ontology, this paper considers whether and how Merleau-Ponty’s early and late thinking may yield a response. From the outset, Merleau-Ponty’s appeal to the materiality of the body is intended as a limit on the scope of ontology. As I argue, however, Merleau-Ponty’s early concept of ‘one’s own body’ (corps propre) suggests an “ontological equality” that would be shared among all embodied beings; implicitly, this early approach risks reinforcing Fanon’s concern that ontology is indifferent to embodied experiences of racial exclusion and oppression. Merleau-Ponty’s later ontology of the flesh, by contrast, entails a more radically differential structure of the body that troubles the notion of equality in principle, suggesting an ontology that could be more attentive to the fundamental grounds of systemic oppression.

In a promising working note to the Visible and Invisible, Merleau-Ponty proposes that we understand Being according to topological space – relations of proximity, distance, and envelopment – and move away from an image of Being based on homogeneous, inert Euclidean space. With reference to treatments of cross-sensory perception, color-blindness, and the concept of quale or qualia, I seek to rehearse this shift from Euclidean to topological Being by illustrating how modern science confines color itself to a Euclidean model of color space. I discuss “being as Object” in Merleau-Ponty’s later work before showing how color, and indeed all perception, is reduced to being as Object in the form of “quale”. Next, I address discussions in Merleau-Ponty’s work and contemporary research to illustrate how synesthesia and so-called color-blindness are rendered abnormal by this objectified being of color. Merleau-Ponty’s reading of synesthesia follows directly from his rejection of quale, and his use of color perception serves as a rejection of solipsism. With appeal to his proposed topological model of Being, I conclude by recognizing the problematic nature of synesthesia and color-blindness as being ontological, not psychological.

In this paper, I will investigate the potential of what I term Merleau-Ponty’s ‘situated phenomenology’ for an investigation of normality from within and from without. First, I will argue that the concept of situation in the Phenomenology of Perception demarcates Merleau-Ponty’s turn from a mere epistemological to a concrete critical phenomenology. Second, I will apply Merleau-Ponty’s concept of situation as being situated and as being in situation to an investigation of normality. In doing so, I endeavor to differentiate between lived and represented normality, a difference which in turn corresponds to an operative (immanent) and established (external) normativity. A situated account of normality thereby combines a phenomenological and a genealogical perspective. My aim is to provide a toolkit to investigate the intertwinement of represented and lived normality, that is, of being situated and being in situation.