Le Visible et l'Invisible / Notes de travail by Maurice Merleau-Ponty

By Maurice Merleau-Ponty

'Du grand ouvrage dont rêvait Merleau-Ponty ne restent que cent cinquante pages manuscrites. Quelle est leur fonction : introduire. Il s'agit de diriger le lecteur vers un domaine que ses habitudes de pensée ne lui rendent pas immédiatement available. Il s'agit, notamment, de le persuader que les options fondamentaux de los angeles philosophie moderne - par exemple, les differences du sujet et de l'objet, de l'essence et du fait, de l'être et du néant, les notions de sense of right and wrong, d'image, de selected - dont il est fait constamment utilization impliquent déjà une interprétation singulière du monde et ne peuvent prétendre à une dignité spéciale quand notre propos est justement de nous remettre en face de notre expérience, pour chercher en elle l. a. naissance du sens.' Claude Lefort.

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The melody provides an aural territory for the Vice-Consul. In its incessancy, the song mimics the rigidity of French colonial life in India. ” (323; original emphasis) 56 His relationship to women is even more complicated in The Vice-Consul—he attended boys’ boarding schools; his mother and aunt, who otherwise raised him, are dead; he has never had, nor wanted, a female lover. His outlook changes when he meets Anne-Marie. She is like him, and this doubling seems to shake him to the core. He not only wants her, he cannot bear to be without her.

In the distance, blue palm trees. On the banks of the Ganges, lepers and dogs interspersed encircle the city. They form the wide outer ring of the city. The thousands dying of hunger are farther off to the north, in the Ibid 253. The any-place-whatever to which Deleuze refers in both Cinema volumes is echoed in the first few pages of India Song (the play), where Duras writes: The names of Indian towns, rivers, states, and seas are used here primarily in the musical sense. All references to physical, human, or political geography are incorrect: You can’t drive from Calcutta to the estuary of the Ganges in an afternoon.

139). Indeed, if we follow Straus’ underlying assumptions about the binary male-female, strong-weak, empowered-disempowered oppositions, there does not seem to be room for social progress. 72 45 By noting Grete’s importance to the plot of Kafka’s story and giving credit to the idea that Kafka creates a double-story with dual protagonists, the “metamorphosis” can also describe the shift in social roles between the woman of the nineteenth century and the “new woman” of the twentieth century, which Grete comes to represent.

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