The Rhythm of Thought: Art, Literature, and Music after by Jessica Wiskus
By Jessica Wiskus
Among current and previous, obvious and invisible, and sensation and notion, there's resonance—so thinker Maurice Merleau-Ponty argued and so Jessica Wiskus explores within the Rhythm of inspiration. maintaining the poetry of Stéphane Mallarmé, the work of Paul Cézanne, the prose of Marcel Proust, and the song of Claude Debussy below Merleau-Ponty’s phenomenological gentle, she bargains leading edge interpretations of a few of those artists’ masterworks, in flip articulating a brand new point of view on Merleau-Ponty’s philosophy.
More than in simple terms convalescing Merleau-Ponty’s concept, Wiskus thinks based on it. First interpreting those artists relating to noncoincidence—as silence in poetry, intensity in portray, reminiscence in literature, and rhythm in music—she strikes via an array in their works of art towards a few of Merleau-Ponty’s most enjoyable subject matters: our physically dating to the area and the dynamic strategy of expression. She closes with an exam of synesthesia as an intertwining of inner and exterior geographical regions and a decision, eventually, for philosophical inquiry as a method of inventive expression. dependent like a section of tune itself, The Rhythm of inspiration bargains new contexts during which to procedure artwork, philosophy, and the resonance among them.
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Extra resources for The Rhythm of Thought: Art, Literature, and Music after Merleau-Ponty
Sample text
When we mistakenly equate depth and breadth, we are measuring a distance that spreads out between our body and the object. This distance allows us to “objectify” our relationship with the object. But, paradoxically, primordial depth has the effect of making us feel close to the object. Only when the tree is laid out flat—without depth—is it inaccessible, held away as the limit of our vision. To view the tree in transparency is to view it from the perspective of the kosmotheoros—from the realm of the eternal and the omniscient.
For the relationship between the particularity of the church and Marcel’s notion of it as a universal artwork (a representation of the church that, like the idea of geometry for Meno’s slave, would have existed before and apart from Marcel) does not secure depth. As a structural double, it fails. This is because, for Proust, it is always the sensible realm that is determinative. Only when the sensible has doubled up through the sensible—only when Marcel encounters something, within the world, for the second time—is the sense of depth achieved.
So complex is this relationship that it also works upon our own body. In Merleau-Ponty’s famous example, my left hand may reach out to touch the surface of this wooden desk. My hand is an extension of myself—myself as subject—and it feels the desk as an object. But at the same time, I may reach my right hand over to touch my left hand as it explores the surface of the desk. Now, my right hand is the extension of myself as subject, but what is the left hand? ”32 That is to say, the left hand crosses over to the world of things even as it maintains its bond with me as a subject.