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The work that Maurice Merleau Ponty planned to call The Prose of the World or Introduction to the Prose of the World was unfinished at the time of his death The book was to constitute the first section of a two part work whose aim was to offer as an extension of his Phenomenology of Perception a theory of truth This edition's editor Claude Lefort has interpreted and transcribed the surviving typescript reproducing Merleau Ponty's own notes and adding documentation and commentary


10 thoughts on “La prose du monde

  1. says:

    110218 i remember when i first tried to extrapolate my drawings with 'renaissance perspective' that is single vanishing point horizon diminishing by distance etc i was first very enthused then very frustrated as it seemed to promise something so geometrically exact in perception and then it failed not only as art but also in what i could see i thought it was just my fault this was as a highschool student of course i moved on became focused on contour colour composition as well as learning different graphite and ink and watercolours yet it was only much later that i was able to see renaisance perspective as a natural error as merleau ponty examines it here'every painting reuires a metaphysics' this chosen artificial monocular calculated 'renaissance perspective' is not what we see if we attend closely but apparent design supports then enforces an entire way of looking at the phenomenal real by neglecting our binocular vision resolved into one monocular by exploring in depth with the same details by confusing the shape of the world as something to represent on a plane on two dimensions on singular vanishing point on insisting eual access of everything to the viewer rather than drifting foci and opacity of human perception this is an essay i wish i had read or asked about to my scientistfather's sistersartists this comes perhaps years decades too late but even if i can no longer draw paint etch i can read philosophy i can look at art with this corrected sense m p is indeed my favourite philosopher on the arts possibly in his tendency to talk not only of the work painting etc but the individualtotal vision of the worker artist


  2. says:

    «El lenguaje sólo sigue siendo enigmático para uien no deja de interrogarlo o sea de hablar de él»


  3. says:

    Merleau Ponty as always approaches common explananda in philosophy this time mostly language and visual art from his incredibly distinctive framework which I think exemplifies the highest form of naturalism and at the same time connects any philosophical explanada with the existential problems that really matter to us But I am somewhat disappointed with this book; the majority of the substantial ideas in this work are summaries or applications of ideas presented in The Phenomenology of Perception Nonetheless I would regard this book a worthwhile readMerleau Ponty's approach to language is distinctively phenomenological and existential He points out that science should explain the phenomena that we experience Theoretical standards in science however often reduce such phenomena to their forms that arise under detached observation and presuppose that their findings are objective and eternal To address the first failing Merleau Ponty examines the first person experience of language apprehension He points out that when we use language the phonetic ualities of the language or visual form if we are reading vanish entirely from our attention Instead we register the meanings conveyed by speech or texts Merleau Ponty treats this subject throughout the book using it as a launching pad to examine the possible connections between language and perception and language and art Moreover when we listen to speech the phenomenology of listening is uncannily similar to that of speaking Merleau Ponty suggests that the processes that underpin listening and speaking overlap to a large degree and we should treat these phenomena as interdependent This point is supported by the sorts of language related pathologies that can occur People with schizophrenia sometimes experience that their own speech is uttered by another person; or that someone else's speech is in fact their own and they are inhabiting their body while speaking This indicates that non pathological cases of listening and speaking should arise from processes that could also give rise to such pathological cases I found this section of the book most innovative and plausible; it is found in chapter 2 Science and the Experience of Expression Merleau Ponty explores how when we apprehend language or even use it ourselves we experience self transcendence He explains that when we use language the standards of language to which we automatically conform have been constituted by so many interactions between other human beings throughout history In a way the description that we are inhabited or possessed by language is accurate and in speaking we can transcend ourselves When we are engaged in dialogue with others the language use of the conversational partners are interdependent; each speaker constrains and in a way constitutes the possible responses of the other Merleau Ponty treats this subject in chapter 5 Dialogue and the Perception of the Other; his treatment is somewhat vague and I think he does a better job in explaining intersubjectivity and self transcendence in The Phenomenology of PerceptionThe second failing of scientific approaches to language is that they presupposed that language is a determinate and eternally fixed system This is a dangerous assumption Merleau Ponty regards language as essentially creative Whenever we use language we rely on linguistic standards that have emerged over our sociocultural history; but we as agents in new circumstances always innovate with our usage Apprehension of language is based on noticing the typical phrases and structures employed and the ways the present usages of them deviate from these types Differentiation between present and standard language use gives rise to meaning I was honestly uite confused about this point; Merleau Ponty does not argue for it or explain it in detail Also in his criticism of mainstream theories he doesn't distinguish deep syntactical structures or basic phonological constraints as necessary and fixed from semantic aspects of language which are clearly conventional and fluid Overall I would recommend readers who are unfamiliar with Merleau Ponty to go to The Phenomenology of Perception instead Only readers with a particular interest in how Merleau Ponty treats language or in phenomenological approaches to language generally should read this one


  4. says:

    A experiência última da linguagem é a poesia numa versão heideggeriana da coisa Merleau Ponty parece discorrer sobre isso mas na perspectiva da arte uando com o mínimo de material expressa e traduz um mundo único e plural Toda produção mundana é transmutada e condicionada a conversão de sentido em significado Classicismo e modernismo entram num embate ue o autor expressa “Enuanto os clássicos eram eles próprios sem ue o soubessem os pintores modernos procuram primeiro ser originais e seu poder de expressão confunde se com sua diferençaHá muito o ue ser dito sobre essa copilação capítulos fáceis de serem compreendidos e numa discussão interessante da até pra casar com a linguagem vygotskiana 1010


  5. says:

    I read this in community college for an intro to philosophy class and remembered it so fondly I opted to re read it many years laterSoooo What it is is an investigation of language it's primacy it's disconnect how primarily painting literature and math can speak through language and so forth It's also a study of perception through the lens of the body as focal point for perception Merleau Ponty tends to all over the place in this one at least regarding the case studies which he uses to prove his point It starts with literature and the prescient point of Mallarme's mysterious poetic blank pagesilence as language in the infamous poem A Roll of the Die Will Never Abolish chance and ends with ummchildren's painting with pit stops in Rembrandt paintings psychology algorithms and a lot of other stuffWhat I gleaned from it I still really liked even though I don't totally agree with all that Merleau Ponty was getting at I mostly agree and do see speech as a possible saving grace if not a total pinnacle of umm humankind that sort of thing He hits on the imperfect power of silence painting as an act to satisfy itself that happens to satisfy observers and acuaintances too the mysterious power of madmen and other good stuffThis work was one the author was apparently working on at the time of his death however other than it's definite disparate ness of case studies this merely shows in its very abrupt ending Ah wellAll in all uite satisfying


  6. says:

    It is rare that one encounters a work of philosophy that one loves just about every sentence of but Merleau Ponty's The Prose of the World for me is just that work of philosophy Merleau Ponty's exploration of linguistics the diachronic and synchronic nature of language the phenomenology of speech communication and expression intersubjectivity and ultimately his gestures towards his late ontology explicated fully in The Visible and the Invisible are a fascinating read for anyone interested in philosophy of language If the work suffers at all it is in that it was never completed While Merleau Ponty had abandoned the work to concentrate on The Visible and the Invisible editor Claude Lefort maintains and I think it is fair to say that Merleau Ponty would have re visited the themes; either in The Visible and Invisible or in The Prose of the World had he not passed away suddenly


  7. says:

    Απλά δεν έχω λόγια μακάρι όλοι μας να μπορούσαμε να αντιληφθούμε τον κόσμο έστω και λίγο με τον τρόπο που αποδίδεται η σκέψη στο βιβλιο αυτό Και βέβαια θα ήταν όλα διαφορετικά αν η σκέψη μας αποτυπωνόταν τόσο απλά όσο ο συγγραφέας καταφέρνει να κρύψει την απλότητα πίσω από το μοναδικό ύπνος τουΠραγματικά ωραίο βιβλίο