Frank Chouraqui

This paper seeks to address two lacunae of the literature about French political theory in the second half of the 20th century. The first concerns the origins of the great Foucaldian thesis of the autonomy of power, and the second concerns the conceptual implications of the events of the 1950s surrounding the politics of communism on both sides of the Iron Curtain. There are many apparent responses to these questions in the existing literature. However, they are rendered insufficient by their refusal to address the need for a specifically intellectual history. With regard to Foucault’s thesis of the autonomy of power, philosophers seem happy to abstract Foucault’s insight from its context, resting on the implication that it may have come out of nowhere. Conversely, when it comes to the implications of historical developments on political philosophy, historians seem to satisfy themselves with wordplay: before so many histories of the intellectuals, who needs intellectual history? It is however rather obvious that both history and philosophy are set to benefit from a specifically intellectual history, that is to say, from an account neither of an idea nor of a context, but of how the historical context of the early fifties made the Foucaldian idea conceivable.

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.