Frank Chouraqui

Rajiv Kaushik’s Art, Language and Figure in Merleau-Ponty continues the work begun last year in Art and Institution by exploring the ontological grounds upon whichMerleau-Ponty locates the continuity of philosophy with the visual arts. The mission and the privilege of art are to allow the invisible to appear in its own terms. As such, artpossesses the potential of completing the endeavors of philosophy by bringing the world to expression without abusively bringing it to visibility. Kaushik’s analyses of Merleau-Ponty’s concept of “figural philosophy,” of the relevance of Merleau-Ponty’s reading of Saussure for his philosophy of art, and of the dynamic and ontological potential contained in the tracing of a line are profound and each makes decisive contributions to the study of Merleau-Ponty’s aesthetics. In addition to these, Kaushik’s analysis of artworks and artists such as Cy Twombly allow him to make this more than a book about Merleau-Ponty’s philosophy or a book about art; it is a book that enacts their continuity as it describes it, in true hyper-dialectical fashion.

This article presents a critique of the current naturalist readings of Nietzsche by drawing a distinction between a sense of naturalism based on nature taken as "what there is" and one based on the scientific concept of nature. The paper suggests that Nietzsche is a naturalist in the first sense, but not in the latter, and that due to the confusion between the two sense, many arguments in favor of the first have been unwarrantedly transferred into the latter. The article begins with a close critical reading of Brian Leiter's "Nietzsche's Naturalism Revisited" before confronting the naturalist readings with one case of Nietzsche's writings, found in Daybreak's Book V.