Donald A. Landes

Jessica Wiskus’s book The Rhythm of Thought: Art, Literature, and Music (University of Chicago Press, 2013) is a fascinating study of Merleau-Ponty’s late philosophy inrelation to the artistic expression of Mallarmé, Cézanne, Proust, and Debussy. By invoking examples from across the arts and citations from across Merleau-Ponty’soeuvre, Wiskus provides us with a style for reading some of Merleau-Ponty’s difficult late concepts, including noncoincidence, institution, essence, and transcendence.In this review, we explore some of the key concepts and insights of Wiskus’s rich, interdisciplinary book and offer some places where the depth that it opens up perhapsinvites further exploration.

Maurice Merleau-Ponty (1908-1961) is one of the central figures of 20th-century Continental philosophy, and his work has been hugely influential in a wide range of fields. His writings engage in the study of perception, language, politics, aesthetics, history and ontology, and represent a rich and complex network of exciting ideas. The Merleau-Ponty Dictionary provides the reader and student of Merleau-Ponty with all the tools necessary to engage with this key thinker: a comprehensive A to Z that provides summaries of all his major texts and articles, clear and straightforward explanations of his terminology and innovative concepts, and detailed discussions of the figures and philosophies that influenced his work. The book also includes a philosophical introduction, a chronology of Merleau-Ponty's life and works, and suggestions for further reading. This dictionary is the ideal reading and research companion for students at all levels.

Two key themes structure the work of French philosopher of science Gilbert Simondon: the processes of individuation and the nature of technical objects. Moreover, these two themes are also at the heart of contemporary debates within Ethics and Bioethics. Indeed, the question of the individual is a key concern in both Virtue Ethics and Feminist Ethics of Care, while the hyper-technical reality of the present stage of medical technology is a key reason for both the urgency for and the success of the field of Bioethics. And yet, despite its potential for thinking about these issues, Simondon’s philosophy remains largely unknown. Rather than exploring Simondon’s complex ontology for itself, the aim of this paper is to establish what contribution his work can make in Ethics and Bioethics on two essential questions: the relational structure of the self and the nature of the human-technology relation. I argue that Simondon’s re-conceptualization of the individual harmonizes with perspectives in Feminist Bioethics (particularly the Ethics of Care) and points toward what I call an “open” Virtue Ethics that takes relations to be essential. In order to establish this connection, I explore at length the relational approach to Feminist Bioethics offered by Susan Sherwin’s work. I argue that a Simondonian account of technology and of the individual furthers the relational understanding of the self, offers a characterization of Virtue Ethics that is in harmony with the Ethics of Care, and clarifies a notion of responsibility that is implicated in the complex reality of the modern technological milieu.

In the Nicomachean Ethics, Aristotle places the art of medicine alongside other examples of technē. According to Gadamer, however, medicine is different because in medicine the physician does not, properly speaking, produce anything. In The Enigma of Health, rather than introducing Aristotle’s intellectual virtue of phronēsis (practical wisdom) as a way of understanding medical practice, Gadamer focuses on how medicine is a technē “with a difference”. In this paper, I argue that, despite the richness of his insights, this focus prevents Gadamer from reaching an adequate account of health and the practice of medicine, and I demonstrate how making phronēsis central via a phenomenological description furthers our understanding of the art of healing in important ways. The paper begins with an exploration of Gadamer’s understanding of phronēsis and technē (via Heidegger) to provide a foundation for a phenomenological analysis of the art of healing. After considering the shortcomings of Gadamer’s analyses, I introduce a working definition of “health” that both captures the spirit of Gadamer’s insights and prepares the ground for a phenomenological description. Finally, I introduce concepts from Merleau-Ponty in order to establish an adequate account of the relation between technē and phronēsis and a more nuanced understanding of experience as unfolding within the expressive trajectories forged by bodies that are subject to the weight of the past and the weight of the ideal. The art of medicine, I argue, needs to be understood as expressive behavior in the context of historically and socially situated individuals, institutions, and open trajectories of sense.

_ Source: _Volume 45, Issue 3, pp 369 - 385 In “The Vestige of Art,” Jean-Luc Nancy argues that art is neither representation nor inscription, but rather _exscription_. The figure is the vestige of an expressive gesture; it represents neither a separable idea nor the one who traced it but, rather _exscribes_ their presence and their world in the event of expression. As such, Nancy’s aesthetics in _The Muses_ deploys a certain logic of expression best understood in the tradition of Merleau-Pontian phenomenology. Echoing Merleau-Ponty’s notion of speech accomplishing, rather than translating, thought, Nancy’s understanding of the expressive gesture suggests an event that brings forth a self that does not pre-exist its expression and that is paradoxically always already past, always already fallen into material vestiges. By connecting Merleau-Ponty’s notion of a “past that has never been present” to Nancy’s concept of _exscription_, I argue that reading Nancy’s _The Muses_ and Merleau-Ponty’s “Eye and Mind” together suggests an importantly restructured “phenomenology” of painting that is in fact more of an ontology of intercorporeality