Galen A. Johnson

The present paper is a review of Critical Studies on Heidegger: The Emerging Body of Understanding (SUNY, 2023), by David Michael Kleinberg-Levin, who argues we can find a phenomenology of perception in Heidegger ultimately no different than that of Merleau-Ponty. The concept of “the emerging body of understanding” means the growth or “perfection” of human capabilities in perception – touch, vision, and hearing – that are attentive to our interconnectedness with others and nature as presented by the Fourfold. The conclusion of the review offers some evaluations regarding questions of influence and recently available course notes by Merleau-Ponty about Heidegger’s philosophy.

Merleau-Ponty has long been known as one of the most important philosophers of aesthetics, yet most discussions of his aesthetics focus on visual art. This book corrects that balance by turning to Merleau-Ponty's extensive engagement with literature. From Proust, Merleau-Ponty developed his conception of "sensible ideas," from Claudel, his conjoining of birth and knowledge as "co-naissance," from Valéry came "implex" or the "animal of words" and the "chiasma of two destinies." Literature also provokes the questions of expression, metaphor, and truth and the meaning of a Merleau-Pontian poetics. The poetic of Merleau-Ponty is, the book argues, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. Ultimately, theoretical figures or "figuratives" that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression.

Mazisgives us a new reading of Merleau-Ponty’s overall writings, a monumental work of vast scope with an original thematic reading of Merleau-Ponty’s thought. Its overall structure is revealed by its subtitle: elucidating the depth of silence, taking it as normative for ethics, reformulating perception as imaginal, concluding with a poetics of philosophy. The book offers us a Merleau-Ponteanethics of “felt solidarity” and “lateral unity” through developing a sharp opposition between the ethics of Merleau-Ponty and Levinasregarding the “face” and the face-to-face, and a new understanding of the inspiration Merleau-Ponty received from the novels of Antoine de Saint-Exupéry.By “face of the world,” Mazismeans to highlight the “physiognomic character” of perception, which means perceiving the overall form or shape of things that is suggestive and invites further attention. Merleau-Ponty’s French term, translated as “face,” is the word figure. In other words, to speak of the “face of the world” is new way of speaking of the “flesh of the world,”with a particularly poignant ethical edge about attentiveness and respect.Ultimately, what is at stake is the whole way of entering into and conducting the philosophical enterprise. Philosophy requires a qualitative language to articulate a qualitative world. This is poetic language and poetic phenomenology. This work commands our attention in a world that is increasingly “face blind” to the expressiveness of the world, not only of persons, but also of other living organisms, even the physiognomy of institutions and nature itself.Mazis nous offre une nouvelle lecture de l’oeuvre de Merleau-Ponty. Il s’agit d’un ouvrage monumental et ambitieux offrant une lecture originale de la pensée merleau-pontienne. La structure d’ensemble s’annonce dans le sous-titre : éclairer la profondeur du silence, l’assumer en tant que norme pour une éthique, reformuler la perception en tant qu’imaginale, conclure avec une poétique de la philosophie. Le livre esquisse ainsi une éthique merleau-pontienne de la « solidarité sentie » et de l’« unité latérale » en développant une opposition nette entre l’éthique de Merleau-Ponty et de Levinas, par rapport à la question du « visage » et du « face-à-face », ainsi qu’une nouvelle compréhension de l’inspiration que Merleau-Ponty a reçu des romans d’Antoine de Saint-Exupéry.Par « visage du monde », Mazis nomme le « caractère physionomique » de la perception, c’est-à-dire le fait de percevoir l’ensemble ou la forme des choses en tant qu’elle est allusive et nous invite à une attention ultérieure. Mazis traduit ainsi le terme figure. Parler d’un « visage du monde » est une manière nouvelle pour parler d’une « chair du monde », avec une insistance particulière sur l’attention et le respect. Enfin, ce qui est en jeu est un nouveau moyen d’entrer et de conduire l’entreprise philosophique. La philosophie demande un langage qualitatif afin de pouvoir articuler un monde qualitatif : un langage poétique et une phénoménologie poétique. Un tel travail demande notre attention par rapport à un monde qui est en train de devenir de plus en plus insensible vis-à-vis de l’expressivité du monde, non seulement des personnes, mais aussi des autres organismes vivants, de la physionomie des institutions et de la nature elle-même.Mazis offre una nuova lettura degli scritti di Merleau-Ponty nel loro complesso, in un lavoro monumentale e dall’orizzonte ampio che ripercorre il pensiero del filosofo secondo un taglio tematico originale. La struttura globale dell’opera si annuncia nel suo sottotitolo: essa esplora la profondità del silenzio, assume quest’ultimo come normativo in termini etici, riformula la percezione come immaginale, e si conclude con una poetica della filosofia. Il libro tratteggia un’etica merleau-pontiana della “solidarietà percepita” e dell’“unità laterale” che viene ricostruita attraverso una contrapposizione netta tra l’etica di Merleau-Ponty e quella di Lévinas in riferimento al “volto” e al “faccia a faccia con l’altro”; offre inoltre un’interpretazione nuova degli spunti ricavati da Merleau-Ponty dai romanzi di Antoine de Saint-Exupéry.Attraverso la formula “volto del mondo”, Mazis intende evidenziare il “carattere fisiognomico” della percezione, che significa percepire i contorni o la forma complessiva delle cose in quanto suggestiva e in grado di suscitare l’attenzione. Il termine francese di Merleau-Ponty tradotto come “volto” è figure. In altri termini, parlare di “volto del mondo” è un nuovo modo per riferirsi alla “carne del mondo”, con un richiamo etico particolarmente marcato al riguardo e al rispetto.In ultima analisi, ciò che è in gioco è un modo completamente nuovo di accedere e imprimere una direzione all’impresa della filosofia. Questa richiede un linguaggio qualitativo per articolare un mondo qualitativo. Ovvero un linguaggio poetico e una fenomenologia poetica. Questo volume si impone alla nostra attenzione in un mondo sempre più affetto da “cecità” nei confronti del volto e dunque sempre più insensibile all’espressività del mondo, non soltanto nei confronti delle persone, ma anche degli organismi viventi e persino della fisiognomica delle istituzioni e della natura stessa.

Beginning from Klee’s statement on truth in self-portraiture that his faces are truer than real ones and Cézanne’s promise to tell us the truth in painting, we consider the origins of truth in art for the philosophy of Merleau-Ponty. We discover that truth in perception, in life, and incarnate existence, as in art, originates from bodily movement. Similar to Heidegger’s argument in “The Origin of the Work of Art,” a truth happens between the work and painter, between the work and viewer, and is not limited to the domain of language, but words and symbols mix together with colors and forms, as in the paintings of Klee. Similar to Husserl’s argument in “The Origin of Geometry,” the originary sense of art, like geometry, is an interweaving of world, intersubjectivity, speech, and writing that achieves a more “militant” truth than mere logical propositions. Truth is marked by its endurance, mobility, agility, subtlety, and depth. These interweavings mean there is no single origin of truth in art and life but a plurality of origins in movement, pleasures, and desires for the becoming of creation