Laura McMahon

In a working note to The Visible and the Invisible, Maurice Merleau-Ponty makes an enigmatic call for “a psychoanalysis of Nature.” This paper argues that there are two interrelated ways in which this call might be taken up. First, it might be taken as the demand to give voice to the deep sense of a nature, conceived in terms of unconscious desire rather than scientific rationality, that precedes and exceeds human life. Second, we might do a psychoanalysis of our relationship to nature, of the ways in which modern thought tends to deny and repress the unconscious, organic desire at its heart. This paper addresses the psychoanalysis of nature in both these senses. The first part of this paper takes up Merleau-Ponty’s well-known discussion of the phantom limb in Phenomenology of Perception in order to give a critique the mind-body dualism implicit in traditional attempts to account for this and related phenomena, and in order to present Merleau-Ponty’s own account of the phantom limb in terms of being in the world. Second, I argue that being in the world requires that we repress not only aspects of our personal pasts, but also our organic nature itself. Third, I argue that much of modern scientific thinking tends to deny the bodily and unconscious dimensions of conscious life—it is this denial that calls for a psychoanalysis in the second sense of studying our troubled and repressive relationship to nature. This denial of our own naturalness is accompanied by a denial of the unconscious and irrational nature of nature itself; finally, I will speak to the ways in which psychoanalysis might go further back than we might expect—beyond our childhoods and to the organic heartbeat of life itself.

This article will argue that ‘A-religion’ , Jean-Luc Nancy’s reading of Claire Denis’sBeau travail , can be understood in the context of concerns he explores elsewherein his philosophical work.1I will be focusing here on the ways in which his thinking ofquestions of community and Christianity and Dis-Enclosure respectively) can be seen to influence anddirect his reading of Denis’s film. Beau travail, this article will argue, comes to represent forNancy a point of intersection between two main issues: the demand of community on theone hand and the deconstruction of Christianity on the other, that is, broadly speaking, thepolitical on the one hand and the theological on the other

We often think of normal childhood as a progressive development towards a fixed—and often tacitly individualistic and masculine—model of what it is to be an adult. By contrast, phenomenologists, psychoanalysts, sociology of childhood, and feminist thinkers have set out to offer richer accounts both of childhood development and of mature existence. This paper draws on accounts of childhood development from phenomenologist Maurice Merleau-Ponty and object relations theorist D. W. Winnicott in order to argue that childhood development takes place in “transitional spaces”; explores typical gendered patterns in the formation of selfhood that “split” relationality and separateness into the “feminine” and the “masculine”; and offers a phenomenology of perception, love, and objectivity in order to show the manner in which, contra individualistic and masculine visions of adulthood, maturity requires an embrace rather than eschewal of ambiguity, and the capacity to continue to dwell in the transitional space between relatedness and separateness.

Alain Resnais's 1963 film Muriel ou le temps d'un retour has been read in terms of a failure to engage with the historical and political issues surrounding the Algerian War – a failure viewed by Susan Sontag as a consequence of Resnais's favouring of aesthetics over politics. This essay reconsiders Muriel beyond the terms of this perceived privileging of aesthetic abstraction over political engagement, and looks at ways in which the spatio-temporal organization of the film is bound to forms of political critique. Drawing on Jacques Derrida's thinking of justice and Gilles Deleuze's emphasis on the topological dimensions of Resnais's cinema, I argue that Muriel's differential, interruptive configurations of history and place carve out a time and space for justice that refuses ontologization, reanimating encrypted traces of Algeria's traumatic history of decolonization and resisting the mournful memory-work of the French nationalist account.

ABSTRACT Against empiricist and rationalist prejudices concerning the nature of issues related to “mental health,” this article offers a phenomenological account of identity as developed in a meaningful system with the environment or world. Drawing on the work of Merleau-Ponty and Dewey, I argue that behavioral and emotional health and illness must be understood in terms of the plasticity or rigidity, respectively, of the individual's responses in the face of new and threatening environmental demands. However, individual plasticity and rigidity are not given qualities of the individual but are themselves developed in healthy or unhealthy interpersonal environments. I discuss three cases of emotional and behavioral trouble in order to explore the manner in which unhealthy self-environment systems can undermine individuals' powers of adaptability and growth.

This paper draws on the philosophies of Maurice Merleau‐Ponty and Hannah Arendt in order to explore the nature of free action. Part one outlines three familiar ways in which we often understand the nature of freedom. Part two argues that these common understandings of freedom are rooted in impoverished conceptions of time and subjectivity. Part three engages with Arendt’s conception of natality alongside Merleau‐Ponty’s conception of expression in order to argue that the freely acting self draws in improvisational manners on the resources of a shared past in order to open unprecedented spaces of meaning for the future, and in so doing at once discovers and institutes herself as the self that she is. Part four draws on an example of anti‐oppressive political action in order to argue that free action not only has the power to inaugurate new spaces of shared meaning for the future, but also to change the sens of the shared past. By the same token, free action is vulnerable in its ontological status and ethical meanings to the events and judgments of the future. Part five argues with both Merleau‐Ponty and Arendt that ethical‐political actors can do no better than to cultivate a political virtù while facing up to the inherently transgressive dimensions of free action in a shared historical world.

In the Algerian War of Independence, women famously used both traditional and modern clothing as part of their revolutionary efforts against French colonialism. This paper uncovers some of the principal lessons of this historical episode through a phenomenological exploration of agency, religion, and political transformation. Part I draws primarily on the philosophical insights of Martin Heidegger and Maurice Merleau-Ponty alongside the memoirs of Zohra Drif, a young woman member of the Algerian Front de Libération Nationale, in order to explore the worldly and habitual nature of human agency in contrast to the Enlightenment stress on individual rationality and autonomy. Part II turns to John Russon’s phenomenological interpretation of religion in order to argue for the ineluctable significance of religion on human existence, in contrast to the modern tendency to oppose religious tradition and secular modernity. Part III analyzes the dynamics of intercultural communication, and argues for the political power of phenomenology as a critical enterprise that enables more just and emancipatory visions of collective human life and political transformation to come to the fore.

ABSTRACT Through an exploration of a home invasion scene in Ingmar Bergman's Shame, this article explores the ways in which it is not only our own bodies that are vulnerable to assault but also the meaningful objects through which we expressively engage with the world, as well as the worldly context of these embodied engagements. First, I draw primarily on the work of Martin Heidegger and Maurice Merleau-Ponty in order to explore the ways in which things come to be incorporated into our bodily experience and how our vulnerability as embodied individuals is thus extended into the life of these things. Second, I engage with phenomenological accounts of home and psychoanalytic accounts of childhood development in order to argue that our extended bodily vulnerability is coextensive with our creative openness to the world. Finally, I offer some reflections on the role played by breakdown in phenomenological experience, at the level of the things through which we are “at home” to expressively extend ourselves out into the world and at the level of the sense of “homelessness” alive in the experience of anxiety.

This article explores what cinema can contribute to recent philosophical engagements with animality and what the work of contemporary French filmmaker Arnaud des Pallières in particular can bring to debates around the zoomorphic or ‘creaturely’ dimensions of film. Examining two works by des Pallières — the documentary Is Dead and the feature-length film Adieu — and drawing principally on the work of Jacques Derrida, the article attends to cinematic, historically-framed configurations of a shared vulnerability between the human and the animal. Such instances of commonality are shown here to unravel hierarchical taxonomies of being, in a rethinking of the ethics and politics of responsibility. These nonanthropocentric modes of cinematic inquiry also engage with issues of minerality and technicity, animating correspondences between forms of life and nonlife, philosophically broadening a consideration of relations between the human and the nonhuman.

This article takes as its point of departure Maurice Blanchot's pairing of Marguerite Duras and Jean-Luc Nancy in The Unavowable Community, and reads India Song, a film by Duras, through Nancy's work on community. Just as Nancy articulates a thinking of community in terms of touch, so Duras develops her own filmic vocabulary of touch to examine questions of being-with, exposure, love and sacrifice against the background of a negative model of community. The article argues that the figure of touch in India Song, both between bodies onscreen and between viewer and film, becomes central to the film's engagement with issues of community, finitude and the political.

Focusing on a recent wave of international art cinema, Animal Worldsoffers the first sustained analysis of the relations between cinematic time and animal life. Through an aesthetic of extended duration, films such as Bestiaire(2010), The Turin Horse(2011) and A Cow's Life(2012) attend to animal worlds of sentience and perception, while registering the governing of life through biopolitical regimes. Bringing together Gilles Deleuze's writings on cinema and on animals - while drawing on Jacques Derrida, Jean-Christophe Bailly, Nicole Shukin and others - the book argues that these films question the biopolitical reduction of animal life to forms of capital, opening up realms of virtuality, becoming and alternative political futures.

"This paper develops phenomenological resources for understanding the nature of intercultural understanding, drawing on the work of Merleau-Ponty in dialogue with feminist anthropologist Abu-Lughod. Part One criticizes Western framings of non-Western violence against women that render the experience of non-Western Others inaccessible. Part Two discusses how certain strains in Western feminism reinforce some of these problematic framings. Part Three offers a phenomenological account of our experience of other persons, and Part Four argues that intercultural understanding takes the form of a “variation” between one’s own and the other’s experience. Part Five explores the implications of this phenomenology of cross-cultural understanding for interpreting dynamic cultural transformations, and the politics of violence against women, in an interconnected and unequal world. Keywords: Maurice Merleau-Ponty; Lila Abu-Lughod; critical phenomenology; feminist anthropology; multiculturalism "