401.
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Maurice Merleau-Ponty
Mort d’Emmanuel Mounier
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402.
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Maurice Merleau-Ponty
Collection Les Temps Modernes dirigée par Maurice Merleau-Ponty et Jean-Paul Sartre
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403.
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Maurice Merleau-Ponty
Bibliothèque de Philosophie dirigée par Maurice Merleau-Ponty et Jean-Paul Sartre
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404.
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Maurice Merleau-Ponty
Éloge de la philosophie
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405.
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Maurice Merleau-Ponty
Kurt Goldstein, La structure de l’organisme
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406.
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Maurice Merleau-Ponty
Les aventures de la dialectique
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407.
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Maurice Merleau-Ponty
Signes
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408.
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Maurice Merleau-Ponty
Intervention à propos de « Commentaire sur l’idée de la phénoménologie » de A. De Waelhens
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409.
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Maurice Merleau-Ponty
Intervention à propos de « La phénoménologie contre The Concept of Mind » de G. Ryle
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410.
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Maurice Merleau-Ponty
Une lettre de Maurice Merleau-Ponty à Éric Weil
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411.
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Maurice Merleau-Ponty
Une lettre de Maurice Merleau-Ponty à Jacques Garelli
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412.
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Maurice Merleau-Ponty
Une lettre de Maurice Merleau-Ponty à Simone De Beauvoir
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413.
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Maurice Merleau-Ponty
Lettres de Maurice Merleau-Ponty à Alphonse De Waelhens, 1946-1961
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414.
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Galen A. Johnson
Présentation
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415.
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Lovisa Andén, Franck Robert
Introduction:
Le problème de la parole, extrait de la leçon du 25 février 1954. Proust et la littérature
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416.
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Maurice Merleau-Ponty
Extrait. Proust. Une théorie, – et une pratique concordante, – du langage
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417.
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Galen A. Johnson
Introduction:
Sur la littérature et le vrai
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418.
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Mauro Carbone
La surface obscure:
La littérature et la philosophie en tant que dispositifs de vision selon Merleau-Ponty
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The whole path of Merleau-Ponty’s thought is crossed – some times more evidently than others – by what I propose to qualify as the idea of literature and philosophy as visual apparatuses (dispositifs), to use an expression that was born – and not by chance – in the field of Film Studies. More precisely, I aim at asserting that Merleau-Ponty sees literature and philosophy working in his epoch as convergent apparatuses of vision, in turn understood as a bodily and not merely ocular practice. Immediately after that, I should specify that such convergent visual apparatuses peculiarly function by words, and that Merleau-Ponty stresses their different efficiency in expressing his epoch. Moreover, I think that the implicit idea of philosophy as a visual apparatus working by words “like all literature” has a particularly relevant but so far not consequently developed place in in the last period of Merleau-Ponty’s thought. Also, I would like to stress that such a perspective is crucial in our own time too, even though I consider it to be different from Merleau-Ponty’s. Indeed, I think that both our time and Merleau-Ponty’s are characterized by a tension between the increasing importance of images and the traditional centrality of the concept in our culture.
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Franck Robert
Merleau-Ponty, L’origine de la géométrie et la littérature
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The commentary Merleau-Ponty offers in 1960 on Husserl’s The Origin of Geometry gives a privileged place to language, to writing: it is perhaps a great astonishment to see Merleau-Ponty, in continuity with Husserl, thinking about the genesis of geometrical ideality beginning from a meditation on literature. Merleau-Ponty’s reflection on literature took a decisive ontological turn at the beginning of the 1950s, notably in the long commentary on Proust in 1953-1954. It is in this spirit that the course of 1960 grants to literature an ontological sense: the ideality of geometry can occur as ideality by the passage to speech and to writing, but the meaning of even scientific ideality can be understood only if one places it on the basis of more fundamental idealities that literature precisely reveals, idealities that are linked across time, in the connection between past and present, self and other. Literature clarifies the history of geometry in yet another manner: it brings to light the intertwining of human-language-world, condition of the emergence of a true sense, which occurs in the history of geometry, and which literature, assuming our being in speech bears more fundamentally still.
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420.
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Emmanuel Alloa
Le premier livre de Merleau-Ponty, un roman
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In his late writings, Merleau-Ponty stressed the convergences between philosophy and literature, highlighting their “common task” of describing the world. His early philosophical texts though – both Simone de Beauvoir and Jean-Paul Sartre pointed this out – insist on demarcating themselves from literature. However, well before publishing his first monographs (The Structure of Behaviour in 1942 and Phenomenology of Perception in 1945), Merleau-Ponty had already written a book on someone else’s behalf: Nord. Récit de l’arctique, published in 1928 by French publisher Grasset. The novel, which deals with the life of an explorer in Canada’s far north, between fur trade and encounters with the Inuit, is the result of ghostwriting, carried out for a friend (Jacques Heller). Merleau-Ponty later never stood to that book. There are nonetheless some interesting motifs in this early piece of writing that prefigure his future thinking.
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