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By Maurice Merleau-Ponty, Patricia Allen Dreyfus
Written among 1945 and 1947, the essays in experience and Non-Sense supply a superb advent to Merleau-Ponty's notion. They summarize his prior insights and express their widest diversity of application-in aesthetics, ethics, politics, and the sciences of guy. each one essay opens new views to man's look for cause. the 1st a part of feel and Non-Sense, "Arts," is anxious with Merleau-Ponty's thoughts of conception, that have been complex in his significant philosophical treatise, Phenomenology of conception. the following the research is targeted and enriched in descriptions of the perceptual global of Czanne, the come upon with the opposite as expressed within the novels of Simone de Beauvoir and Sartre, and the gestalt caliber of expertise introduced out within the movie artwork shape. within the moment half, "Ideas," Merleau-Ponty indicates how the types of the phenomenology of conception could be understood as an outgrowth of the behavioral sciences and the way a version of lifestyles in response to conception sensitizes us to the insights and boundaries of earlier philosophies and indicates positive criticisms of latest philosophy. The 3rd half, "Politics," clarifies the political dilemmas dealing with intellectuals in postwar France.
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Extra resources for Sense and Nonsense
Sample text
One can generally obtain any color by juxtaposing rather than mixing the colors which make it up, thereby achieving a more vibrant hue. The result of these procedures is that the canvas-which no longer corresponds point by point to nature-affords a generally true impres sion through the action of the separate parts upon one another. But at the same time, depicting the atmosphere and breaking up the tones submerges the object and causes it to lose its proper weight. The composition of Cezanne's palette leads one to suppose that he had another aim.
To achieve sunlit colors in a picture which wil be seen in the dim light of apartments, not only must there be a green-if you are I2 / SENSE AND NON-SENSE painting grass-but also the complementary red which wil make · it vibrate. Finally, the Impressionists break down the local tone itself. One can generally obtain any color by juxtaposing rather than mixing the colors which make it up, thereby achieving a more vibrant hue. The result of these procedures is that the canvas-which no longer corresponds point by point to nature-affords a generally true impres sion through the action of the separate parts upon one another.
Doubtless Pierre has come to be more to her than an object in her own�particular world, a backdrop for her life as other men are. But for al that, he is , not an Other. Francoise and Pierre have established such sincerity between them, have constructed such a machine of language, that they are together even when living apart from each other and can remain free in their union. ' '' Every thought and every event of the da-y were communi cated and shared, every sentiment immediately inieipreted and made into a dialogue ; the we-ness was sustained by al that happened to each one of them.