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Merleau-ponty at the Limits of Art, Religion and Perception

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Table of Contents

Preface; Part I: Limits of Art, Culture and Institution; 1. Freeing the Line: On Merleau-Ponty and Klee, John Sallis (Boston College, USA); 2. Merleau-Ponty and Cezanne on Painting, Gunter Figal (Albert-Ludwis Universitat, Germany); 3. Merleau-Ponty and Kant's Third Critique: On the Beautiful and Sublime, Galen Johnson (University of Rhode Island, USA); Part II: Faith and Sacramentality in Merleau-Ponty; 4. Merleau-Ponty and the Sacramentality of the Flesh, Richard Kearney (Boston College, USA); 5. Incarnation and Transcendence, Jeffrey Bloechl (Boston College, USA); 6. 'Faith is the substance of things hoped for, the evidence of things not seen': Merleau-Ponty on Faith, Virtu and the Perception of Style, Darian Meacham (Katholieke Universiteit Leuven, Belgium); Part III: Liminality, Temporality; 7. Absolute Time, Constituting Consciousness: Husserlian Reflections on Merleau-Ponty's Later Theory of Time, Michael Kelly (Boston College, USA); 8. Merleau-Ponty's View of Temporality, Heath Massey (Beloit College, USA); Part IV: Limits of Boides: Skillful Bodies, Phantom Limbs and Phantom Worlds; 9. Merleau-Ponty and the Normative Nature of Perception, Sean Kelly (Harvard University, USA); 10. Skill in Merleau-Ponty and Ryle, Gabrielle Bennet Jackson (Harvard University, USA); 11. Phantom Limbs and Phantom Worlds, Susan Bredlau (University of Arizona, USA); 12. Merleau-Ponty's Chiasmatic Psychology, James Morley (Ramapo College of New Jersey, USA); Bibliography; Index.

About the Author

Kascha Snavely is a PhD candidate in philosophy at Boston College and Lecturer in Philosophy at Seattle University, USA. She is the co-editor of Phenomenologies of the Stranger (Fordham, forthoming 2010). Neal DeRoo is Teaching Fellow in Philosophy at Boston College, USA, and also teaches at Brock University, Canada. He is the co-editor of Phenomenology and Eschatology (Ashgate, 2009).


"Merleau-Ponty's engagement with visual art both informs and justifies his account of perception; it is impossible to understand the latter without the former. In both cases the experience of communion with what goes beyond oneself is crucial. The interesting and informative essays in this collection bring out some of the interplay between these artistic, perceptual, and religious phenomena and explore the way Merleau-Ponty himself understands them. The book will serve both as a guide to the uninitiated in these areas and as a spur to those already engaged." - Sean D. Kelly, Harvard University, USA

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