Maurice Merleau-Ponty (1908-1961) is one of the most important philosophers of the Twentieth century. His theories of perception and the role of the body have had an enormous impact on the humanities and social sciences, yet the full scope of his contribution not only to phenomenology but philosophy generally is only now becoming clear. In this lucid and comprehensive introduction, Taylor Carman explains and assesses the full range of Merleau-Ponty’s philosophy.
Beginning with an overview of Merleau-Ponty’s life and work, subsequent chapters cover fundamental aspects of Merleau-Ponty’s thought, including his philosophy of perception and intentionality; the role of the body in relation to perception; philosophy of history and culture; and his writings on art and aesthetics, particularly the work of Cezanne. A final chapter considers Merleau-Ponty’s importance today, examining his philosophy in light of recent developments in philosophy of mind and cognitive science.
Merleau-Ponty is essential reading for students of phenomenology, existentialism and Twentieth century philosophy. It is also ideal for anyone in the humanities and social sciences seeking an introduction to his work.
من با مرلوپونتی آشنایی چندانی نداشتم. اینور اونور یه چیزایی ازش خونده بودم و میدونستم بدنمندی براش مهمه و بیشتر دربارهی این موضوع نوشته. این کتاب مقدمهای بود برای آشنایی با تقریباً تمام مباحث اصلی فلسفهی مرلوپونتی؛ از نظریاتش دربارهی ادراک و بدنمندی گرفته تا نظراتش دربارهی تاریخ و سیاست و نقاشیهای سزان. کتاب جامعی بود ولی خوندنش سخت بود، حالا نمیدونم این سخت بودن به دلیل سبک نوشتن نویسنده بود یا مشکل ترجمه داشت یا کلاً نظرات مرلوپونتی سختن.
This is currently (3/2010) my favorite overview of Merleau-Ponty's work. It is particularly good in connection with his discussion of Merleau-Ponty's notion of "flesh".
The key (and lengthy) chapters are 2 and 3. They have a nice rhythm. But I think space restrictions owing to a painfully long chapter on painting meant that I definitely could not explain M-P's thinking in front of a lecture hall. I have learnt the key to his metaphors are lots of touching and gripping for vision. SO there's that. I'd give it 4.5.