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Author: Grafiati

Published: 11 March 2023

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1

Sunday, Agama Christina. "The Doctrine of Intentionality in Merlau-Ponty." International Journal of Research and Scientific Innovation 08, no. 01 (2021): 66–70. http://dx.doi.org/10.51244/ijrsi.2021.8103.

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Prinz, Sophia. "Das unterschlagene Erbe." Phänomenologische Forschungen 2017, no. 2 (2017): 77–92. http://dx.doi.org/10.28937/1000107737.

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Maurice Merleau-Ponty’s phenomenology of the body has so far been widely neglected in the debate on practice theory. This failure is surprising considering Merleau-Ponty’s early contribution of a number of fundamental insights – including bodily practice as a theoretical basic unit, the priority of “practical sense” and “implicit knowledge” over consciousness, and the collectivity of practice. The article addresses these approaches in detail, examining them relative to corresponding concepts from Bourdieu and Foucault. It turns out that both theorists owe more to their teacher than they were willing to admit. Revisiting Merlau-Ponty also offers the opportunity to both supplement practice theoretical vocabulary with the aspect of implicit perceptual knowledge and refine it with regard to the question of individual deviation from order.

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3

Passos, Luiz Augusto. "Metodologia da Pesquisa Ambiental a partir da Fenomenologia de Maurice Merlau-Ponty." Pesquisa em Educação Ambiental 9, no. 1 (June 18, 2014): 38. http://dx.doi.org/10.18675/2177-580x.vol9.n1.p38-52.

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<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>O presente artigo pretende expor pontos centrais da concepção fenomenológica de Maurice Merleau-Ponty, e alguns gonzos que fundam o que se poderia chamar uma concepção filosófica com consequências teórico- metodológicas para pesquisa. Corpo próprio, carnalidade, intencionalidade, quiasma, abrem um importante diálogo entre ciência e filosofia, contemplando uma longa interlocução com a neurociência, psicanálise, antropologia propondo a uma perspectiva positiva de educação ambiental dentro de uma radical interpenetração entre todos os seres animados e inanimados. Quebra-se, de maneira radical, todo antropocentrismo e retoma-se o sentido de animalidade que funda a rede da vida. </span></p> <p><strong>Palavras-chave</strong><span><strong>:</strong> Merleau-Ponty. Educação Ambiental. Pesquisa em Fenomenologia. </span></p></div></div></div>

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4

Araújo, Eleno Marques de, Vania Maria de Oliveira Vieira, and José Humberto Rodrigues dos Anjos. "TRAÇOS DA FENOMENOLOGIA DA LINGUAGEM EM MERLAU-PONTY EM MOSCOVICI / TRACES OF MERLEAU-PONTY'S PHENOMENOLOGY OF LEGUABE IN MOSCOVICI." Brazilian Journal of Development 6, no. 11 (2020): 86435–53. http://dx.doi.org/10.34117/bjdv6n11-169.

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5

Letiche, Hugo, Terrence Letiche, and Jean-Luc Moriceau. "Liminality Affect and Flesh." Somatechnics 12, no. 3 (December 2022): 140–61. http://dx.doi.org/10.3366/soma.2022.0385.

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Liminality is an anthropological concept that has been influential in contemporary social studies. This article is written from an organisation culture and studies perspective wherein liminality has been seen: (i) as something that must be controlled, (ii) as a utopian call to creativity, and (iii) as a dystopian entrapment. Liminality has to do with whether the study of practice has been excessively cognitive whereby the human is reduced to concepts of control, efficiency and profit; and whereby the soma (Gr.) of the physical body is marginalised as mind, spirit, and ideation are prioritised. Thus, what of sarx (Gr.) or the flesh of existence (see Merleau-Ponty, Klossowski)? In this article we explore liminality evaluating its relationship to bodily-ness / bodyless-ness, affect and text. We start with a discussion of liminality as originated by the anthropologists van Gennep and Turner, and as pushed aside by Weick, but lionised as creativity by Kostera, and denounced as stagnation by Szakolczai. This is followed by an auto-ethnographic case study. The case study points to the unheimisch 2 of liminality which we examine via Pierre Klossowski’s manifoldness. Realising that text about liminality and its embodiment easily becomes paradoxical (unembodied and affectless), we present a non-textual (i.e., not written) visual reaction to the case; again, in the spirit of Klossowski; and we conclude with reflections co-inspired by Maurice Merlau-Ponty on the physical affectivity of liminality.

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6

Krzyżak, Anna, and Mirosław Michalik. "Poza słowami – Marcela Marceau koncepcja milczenia." Przestrzenie Teorii, no. 33 (June 15, 2020): 85–101. http://dx.doi.org/10.14746/pt.2020.33.4.

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The article deals with the concept of silence developed by Marcel Marceau, one of the founders of contemporary mime. An analysis of the concept of silence is proposed, starting from a broader research, linguistic and philosophical perspective, encompassing the ideas of Martin Heidegger, Maurice Merlau-Ponty, Józef Tischner and Martin Buber, which aims at an interpretation of Marceau’s theatrical concept, which is presented in his work and statements and contains many elements of philosophical anthropology. For Marceau, the human stands in the center, working in a world where words fail. Mime artist and spectator conduct a distinctive dialogue without using words, thus giving rise to reflections and leading to catharsis. Because the scope of the concept is wide, it has been included in the cognitive framework of the anthropology of silence, proving that Marceau’s concept enriches the debate on the anthropology of silence and opens the perspective for further research on his concept of theater.

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7

Chaves Peña, Daniel Eduardo, and Jaime Yáñez Canal. "Los modos de la atención." Sophía, no. 30 (January 12, 2021): 225–44. http://dx.doi.org/10.17163/soph.n30.2021.08.

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En este texto se analizan algunas concepciones clásicas y alternativas del fenómeno de la atención. Luego de revisar algunos de los planteamientos tradicionales a la hora de concebir este proceso cognitivo, se defiende la importancia de una perspectiva fenomenológica de la atención. En este sentido se retoman las ideas de fenomenólogos como Husserl, Sartre y Merlau-Ponty con el objeto de establecer una distinción de niveles en el proceso atencional. Específicamente, se distingue entre las formas pasivas y activas de la atención. La separación y caracterización de niveles es fundamental, pues permite establecer estratos del fenómeno que a menudo se pasan por alto en las teorías de la atención. La concepción fenomenológica de la atención postula distintos niveles de consciencia que ponen en evidencia las formas de significación de las que dispone el sujeto en su relación con el mundo: la forma pasiva se corresponde con la consciencia prerreflexiva, mientras que la activa puede vincularse a las formas reflexivas de dirigir la atención. En cuanto a las formas pasivas, se enfatiza en las formas de la organización de los contenidos de la experiencia, y en lo que concierne a las formas activas, se resalta cómo el sentido de agencia es fundamental en la determinación de la corriente de experiencias. Tales distinciones son fundamentales para una caracterización apropiada del campo de atención.

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8

Rueda, Carlos. "Re-creación e historicidad en el cedazo de la modernidad: la Casa de Huéspedes Ilustres de Rogelio Salmona." REVISTA NODO 11, no. 21 (April 11, 2021): 8–20. http://dx.doi.org/10.54104/nodo.v11n21.788.

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Este escrito re-elabora y actualiza ideas relativas a los procesos de re-creación poética de lugar en la arquitectura (Rueda 2009) con un estudio de la Casa de Huéspedes Ilustres en Cartagena de Indias (1980-1982) del arquitecto colombiano Rogelio Salmona (1927-2007). Una premisa inicial es: hacer lugar resulta un proceso re-creativo, si se tiene en cuenta que implica la transformación de un sitio existente, el cual tiene un potencial de interpretación poética que, con la obra, el arquitecto eleva a la dimensión de un constructo habitable de historicidad. Se entiende por historicidad, la inmanencia del pasado, del tiempo y la historia en la construcción del presente y la imaginación del futuro. Se enfatiza que con la historicidad se busca en forma paradójica una expresión a-histórica o de eternidad en el tiempo. El concepto de lugar, inclusivo y más complejo que el de sitio, se despliega en totalidades mayores y que constituyen en conjunto, un “mundolugar”. “Lugar” y “mundo” son sinónimos en la tradición fenomenológica (Merlau-Ponty, 2004, p. 196, xi, pp. 405-407; Malpas, 1999, p. 196; Rueda, 2015, pp. 19-46). Hacer lugar se entiende entonces como re-creación poética: unión, condensación o transfiguración de imágenes arquitectónicas –materiales, experienciales, memorables– provenientes de otros lugares para configurar un mundo o totalidad de experiencia.

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Ramírez Cobián, Mario Teodoro. "El cuerpo por sí mismo. De la fenomenología del cuerpo a la ontología del ser corporal." Open Insight 8, no. 14 (July 2, 2017): 49. http://dx.doi.org/10.23924/oi.v8n14a2017.pp49-68.222.

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<p>Recibido: 29/08/2016 • Aceptado: 02/02/2017</p><p> </p><p>Este trabajo pondera el «giro corporal» de la filosofía del siglo XX. Parte de la revaloración que hace Nietzsche del cuerpo frente a una tradición que ha enfatizado tal vez demasiado la espiritualidad del alma, despojándola del cuerpo. Una «filosofía del cuerpo» correctamente planteada bien podría devolvernos la plebeya realidad que el criticismo moderno tanto alejó. Para poder ofrecer una salida al solipsimo universal, sería precisa, pues, una filosofía del cuerpo capaz de replantear el realismo. Así, se presenta los abordajes de de Merlau-Ponty y Jean-Luc Nancy hacia una filosofía de lo corporal y de la carne, respectivamente. La siguiente sección se dedica a presentar las consecuencias del giro corporal de la filosofía respecto de la ontología: presenta el trayecto del cuerpo al Ser. El carácter de exterioridad ejemplar con el que Nancy define al cuerpo nos permite calibrar –en el sentido de una filosofía inmanentista no cerrada ni definitiva– un ateísmo no ingenuo y un realismo ontológico no abstracto ni dogmático. Para concluir el ciclo, se propone el camino que ha planteado el «nuevo realismo», defendido por Markus Gabriel, Ferraris, Harman y otros. La intención de este trabajo es presentar cómo sería posible formular la nueva Ontología, la nueva concepción del ser y la existencia, una ontología materialista, realista, tanto del ser extracorporal como del ser corporal.</p>

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10

Goldstein, Martin. "Merleau-Ponty." Symposium 15, no. 1 (2011): 234–38. http://dx.doi.org/10.5840/symposium201115117.

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Szabat, Marta. "Merleau-Ponty." Polish Journal of Philosophy 4, no. 1 (2010): 168–71. http://dx.doi.org/10.5840/pjphil20104112.

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12

Olkowski-Laetz, Dorothea. "Merleau-Ponty." Philosophy Today 31, no. 4 (1987): 352–58. http://dx.doi.org/10.5840/philtoday198731427.

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13

Paterson, Mark. "Merleau-Ponty." Philosophers' Magazine, no. 27 (2004): 52. http://dx.doi.org/10.5840/tpm20042753.

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14

Thomas-Fogiel, Isabelle. "Merleau-Ponty." Chiasmi International 13 (2011): 381–406. http://dx.doi.org/10.5840/chiasmi20111323.

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15

SCARPA, Mariana Cabral Tomzhinsky. "Intencionalidade: Merleau-Ponty e Barbaras." PHENOMENOLOGICAL STUDIES-Revista da Abordagem Gestáltica 25, no. 2 (2019): 148–55. http://dx.doi.org/10.18065/rag.2019v25n2.5.

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16

Alquié, Ferdinand, and Prisca Amoroso. "Maurice Merleau-Ponty." Chiasmi International 23 (2021): 57–59. http://dx.doi.org/10.5840/chiasmi20212312.

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17

Lefort, Claude, and Gianluca De Fazio. "Maurice Merleau-Ponty." Chiasmi International 23 (2021): 47–48. http://dx.doi.org/10.5840/chiasmi2021239.

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18

Alquié, Ferdinand, and Corinne Lajoie. "Maurice Merleau-Ponty." Chiasmi International 23 (2021): 53–55. http://dx.doi.org/10.5840/chiasmi20212311.

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Lefort, Claude. "Maurice Merleau-Ponty." Chiasmi International 23 (2021): 43–44. http://dx.doi.org/10.5840/chiasmi2021237.

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Hyppolite, Jean, and Corinne Lajoie. "Maurice Merleau-Ponty." Chiasmi International 23 (2021): 65–67. http://dx.doi.org/10.5840/chiasmi20212314.

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Hyppolite, Jean, and Gianluca De Fazio. "Maurice Merleau-Ponty." Chiasmi International 23 (2021): 69–71. http://dx.doi.org/10.5840/chiasmi20212315.

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Lefort, Claude. "Maurice Merleau-Ponty." Chiasmi International 23 (2021): 45–46. http://dx.doi.org/10.5840/chiasmi2021238.

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Alquié, Ferdinand. "Maurice Merleau-Ponty." Chiasmi International 23 (2021): 49–51. http://dx.doi.org/10.5840/chiasmi20212310.

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Hyppolite, Jean. "Maurice Merleau-Ponty." Chiasmi International 23 (2021): 61–63. http://dx.doi.org/10.5840/chiasmi20212313.

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Vuillerod, Jean-Baptiste. "Merleau-Ponty hégélien ?" Chiasmi International 19 (2017): 101–14. http://dx.doi.org/10.5840/chiasmi20171911.

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26

Dufrenne, Mikel. "Maurice Merleau-Ponty." AUC PHILOSOPHICA ET HISTORICA 2018, no. 1 (April 18, 2018): 101–9. http://dx.doi.org/10.14712/24647055.2017.23.

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Imbert, Claude. "Maurice Merleau-Ponty." Paragraph 34, no. 2 (July 2011): 167–86. http://dx.doi.org/10.3366/para.2011.0015.

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Evans, Fred. "Merleau-Ponty Returns." Teaching Philosophy 14, no. 4 (1991): 443–47. http://dx.doi.org/10.5840/teachphil199114465.

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Madison, G. B. "Merleau-Ponty alive." Man and World 26, no. 1 (March 1993): 19–44. http://dx.doi.org/10.1007/bf01279642.

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30

Silva, Claudinei Aparecido de Freitas da. "Merleau-Ponty, percepção e arte [Merleau-Ponty, perception and art]." Princípios: Revista de Filosofia (UFRN) 24, no. 43 (May 19, 2017): 267. http://dx.doi.org/10.21680/1983-2109.2017v24n43id10983.

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Me proponho traçar, em linhas gerais, um recorte mínimo da coletânea Merleau-Ponty and the art of perception, publicada pela Suny Press, em 2016, sob a organização de Duane H. Davis e William S. Hamrick. A obra traz para a primeira cena de debate, a figura de Merleau-Ponty, ao retratar alguns de seus temas mais capilares tendo como fio condutor as noções de “percepção” e “arte”. [I propose to outline, in general, a minimal profile of the compilation Merleau-Ponty and the art of perception, published by Suny Press, in 2016, edited by Duane H. Davis and William S. Hamrick. The work brings to the first scene of debate the figure of Merleau-Ponty portraying some of its most capillary themes having the notions of “perception” and “art” as a guide.]

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31

Duarte, Amsterdan. "TRADUÇÃO DE UM INÉDITO DE MERLEAU-PONTY (MAURICE MERLEAU-PONTY)." Revista Dialectus - Revista de Filosofia 27, no. 27 (December 31, 2022): 165–73. http://dx.doi.org/10.30611/2022n27id83210.

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Tradução de Un inédit de Merleau-Ponty, publicado pela Revue de Métaphysique et de Morale no número 4 do ano 67 (outubro-dezembro de 1962, pp. 401-409). Expressamos nossa gratidão à PUF (Presses Universitaires de France), editora responsável pela revista, na pessoa de Alexandra Pernin, que gentilmente nos concedeu autorização para publicar a presente tradução

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EMBREE, Lester. "Visão de causalidade: Merleau-Ponty em Michotte." PHENOMENOLOGICAL STUDIES - Revista da Abordagem Gestáltica 13, no. 2 (2007): 222–27. http://dx.doi.org/10.18065/rag.2007v13n2.5.

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33

Falabretti, Ericson. "A PRESENÇA DO OUTRO: INTERSUBJETIVIDADE NO PENSAMENTO DE DESCARTES E DE MERLEAU-PONTY." Revista de Filosofia Aurora 22, no. 31 (May 3, 2010): 515. http://dx.doi.org/10.7213/rfa.v22i31.2533.

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Segundo Merleau-Ponty, para o pensamento objetivo, tomando a obra de Descartes como contraponto, a existência de outrem “representa dificuldade e escândalo”. O objetivo central deste artigo é investigar a origem dessa “dificuldade” a partir de duas perspectivas. Primeiro, vamos discutir os problemas sobre inter-subjetividade – da existência do Outro – na filosofia de Descartes, confrontando o texto de Descartes com a interpretação de Merleau-Ponty. Depois, de modo mais aprofundado, vamos apresentar a ideia de como o cogito pré-reflexivo concebido por Merleau-Ponty – alicerçado sobre a uma teoria fenomenológica do corpo, até certo ponto devedora do itinerário metafísico de Descartes – pode ser pensado como condição de possibilidade das relações intersubjetivas.

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Bobant, Charles. "Merleau-Ponty et l’art." Chiasmi International 21 (2019): 337–54. http://dx.doi.org/10.5840/chiasmi20192131.

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Dans ce travail, nous tentons de démontrer que l’interrogation merleau-pontienne sur l’art s’ordonne selon trois mouvements spéculatifs distincts et successifs. Dans les années quarante, l’élaboration d’une phénoménologie de la perception conduit Merleau-Ponty à aborder l’art à partir de l’oeuvre d’art et du sujet percevant qui la reçoit, c’est-à-dire du spectateur. Au début des années cinquante, cette phénoménologie de l’oeuvre d’art et de la perception esthétique fait place à une philosophie de l’expression. Le point de départ du questionnement artistique change : il est, non plus le sens exprimé, mais l’acte expressif ou créateur. La signification de l’oeuvre d’art se voit dès lors ressaisie à partir du sens d’être de l’artiste : l’oeuvre est une réponse aux manques perceptifs de l’artiste. À la fin des années cinquante, le cheminement merleau-pontien connaît un tournant ontologique. Merleau-Ponty en vient à régresser en-deçà de l’artiste, vers l’Être même, lequel s’impose finalement comme le créateur véritable. La dernière philosophie de l’art merleau-pontienne prend dès lors les allures d’une traditionnelle philosophie de l’inspiration.In this work, we undertake to demonstrate that the merleau-pontian inquiry into art orders itself according to three distinct and successive speculative movements. In the 1940s, the elaboration of a phenomenology of perception led Merleau-Ponty to approach art starting from the work of art and the perceiving subject who receives it, the spectator. From the beginning of the 1950s, this phenomenology of the work of art and aesthetic perception gave way to a philosophy of expression. The point of departure for artistic questioning changes: it is no longer the meaning expressed, but the expressive or creative act. The signification of the work of art sees itself from this moment understood starting from the meaning of being for the artist: the work is a response to perceptive omissions (manques perceptifs) of the artist. At the end of the 1950s, the merleau-pontian progress of thought experiences an ontological turning. Merleau-Ponty wants to regress below the artist, toward Being itself, which imposes itself finally as the true creator. The last merleau-pontian philosophy of art takes from this moment the aspects of a traditional philosophy of inspiration.In questo lavoro cerchiamo di mostrare come l’interrogazione merleau-pontiana attorno all’arte si dispieghi secondo tre movimenti speculativi distinti e successivi. Negli anni Quaranta l’elaborazione di una fenomenologia della percezione porta Merleau-Ponty a esaminare l’arte a partire dall’opera e dal soggetto percipiente che la fruisce, ossia dallo spettatore. All’inizio degli anni Cinquanta, tale fenomenologia dell’opera d’arte e della percezione estetica cede il passo a una filosofia dell’espressione. Il punto di partenza dell’interrogazione artistica cambia: non è più il senso espresso, ma l’atto espressivo o creativo. Il significato dell’opera d’arte è quindi ricompreso a partire dal senso d’essere dell’artista: l’opera è una risposta alle lacune percettive dell’artista. Alla fine degli anni Cinquanta assistiamo a una svolta ontologica nell’itinerario merleau-pontiano. La ricerca di Merleau-Ponty ci conduce al di qua dell’artista, verso l’Essere stesso, che s’impone infine come l’autentico creatore. L’ultima filosofia dell’arte merleau-pontiana assume i contorni di una tradizionale filosofia dell’ispirazione.

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35

Soares, Tiago Nunes. "O mistério do ordinário e o enigma da visibilidade: uma aproximação entre Magritte e Merleau-Ponty à revelia do pintor." Viso: Cadernos de estética aplicada 14, no. 27 (October 29, 2020): 241–54. http://dx.doi.org/10.22409/1981-4062/v27i/372.

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Nosso objetivo será apresentar a crítica de Magritte ao texto O Olho e o Espírito, de Merleau-Ponty, presente em sua carta à Alphonse de Waelhens, e explicitar nosso ponto de vista sobre ela. Teremos, com isso, oportunidade de tratar, ainda que brevemente, de aspectos da pintura de Magritte e da filosofia de Merleau-Ponty, tentando uma aproximação entre eles, num movimento contrário ao indicado pelo pintor em sua carta.

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36

Fugali, Edoardo. "Merleau-Ponty e Cézanne." Chiasmi International 22 (2020): 235–48. http://dx.doi.org/10.5840/chiasmi20202225.

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The aim of this article is to demonstrate the intrinsically technical nature of visual perception and pictorial performance through their common anchorage in the corporeity that brings them into existence. As with any other artistic technique, painting reveals itself to be the natural extension of a technological attitude already rooted in the sensorimotor devices of the body in action; painting is led to inhabit a world that is of the same nature as corporeal agents, because the objects that populate it share with it the ontological element of the “flesh”. Through Merleau-Ponty’s analyses of Cezanne’s pictorial works, I demonstrate that the main purpose of painting is, analogically with the descriptive analyses made possible by the phenomenological reduction, to render intersubjectively evident the hidden work of vision before its sedimentation in an accomplished perceptual scene. As the experiments of contemporary neuroscience also demonstrate, perception is by and large a reconstructive process of “image-making” rather than an allegedly accurate reproduction of the spectacle of the world. Painting, on the other hand, both in terms of creation and for the observer, employs the same sensorimotor resources as instruments.

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37

William Wilkerson. "Merleau-Ponty the Metaphysician:." Journal of Speculative Philosophy 27, no. 3 (2013): 297. http://dx.doi.org/10.5325/jspecphil.27.3.0297.

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38

Escoubas, Éliane. "Merleau-Ponty et l'esthétique." Studia Phaenomenologica 3, no. 3 (January 1, 2003): 143–53. http://dx.doi.org/10.7761/sp.3.3-4.143.

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39

de Saint Aubert, Emmanuel. "Levinas – Merleau-Ponty. Résonances." Archives de Philosophie Tome 85, no. 3 (June 17, 2022): 81–82. http://dx.doi.org/10.3917/aphi.853.0081.

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40

Flynn, Bernard. "Merleau-Ponty and Benjamin." Études Phénoménologiques 16, no. 31 (2000): 67–81. http://dx.doi.org/10.5840/etudphen20001631/323.

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Bergson Lendja Ngnemzué, Ange. "Merleau-Ponty en Afrique." Tumultes 56, no. 1 (July 21, 2021): 157–78. http://dx.doi.org/10.3917/tumu.056.0157.

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42

Somers-Hall, Henry. "Deleuze and Merleau-Ponty." Symposium 10, no. 1 (2006): 213–21. http://dx.doi.org/10.5840/symposium200610115.

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Melançon, Jérôme. "Présence de Merleau-Ponty." Symposium 15, no. 2 (2011): 226–30. http://dx.doi.org/10.5840/symposium201115241.

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Pietersma, Henry. "Merleau-Ponty and Spinoza." International Studies in Philosophy 20, no. 3 (1988): 89–93. http://dx.doi.org/10.5840/intstudphil198820367.

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Herman, Michael. "Merleau-Ponty and Nagarjuna." Journal of Indian Philosophy and Religion 7 (2002): 99–129. http://dx.doi.org/10.5840/jipr200274.

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Tartaglia, James. "Stephen Priest, Merleau-Ponty." Nous 35, no. 2 (June 2001): 317–23. http://dx.doi.org/10.1111/0029-4624.00300.

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Furlan, Reinaldo. "Freud, Politzer, Merleau-Ponty." Psicologia USP 10, no. 2 (1999): 117–38. http://dx.doi.org/10.1590/s0103-65641999000200009.

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Abstract:

O objetivo deste artigo é introduzir os primeiros contrapontos da filosofia de Merleau-Ponty com a psicanálise freudiana, ao lado da apresentação da "Crítica dos fundamentos da psicologia" (G. Politzer). Politzer critica o postulado freudiano da divisão psíquica e o postulado da semântica da linguagem convencional na determinação de todo sentido vivido. Merleau-Ponty faz uso dessas críticas para uma teoria da expressão e da existência humanas.

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Plomer, Aurora. "Merleau-Ponty on Sensations." Journal of the British Society for Phenomenology 21, no. 2 (January 1990): 153–63. http://dx.doi.org/10.1080/00071773.1990.11006892.

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Dolezal, Luna. "Starting with Merleau-Ponty." International Journal of Philosophical Studies 21, no. 4 (October 2013): 623–27. http://dx.doi.org/10.1080/09672559.2013.832894.

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Shanahan, Mary. "Merleau-Ponty and Theology." Irish Theological Quarterly 81, no. 3 (July 8, 2016): 328–29. http://dx.doi.org/10.1177/0021140016648628l.

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