Tracing Expression in Merleau-Ponty: Aesthetics, Philosophy of Biology, and Ontology

Index of Topics

169 Index of Topics alterity, 10, 16 animal appearance, 80, 85–89; as a language, 86–87; as “unaddressed appearances ,” 8, 88–89, 121; expressivity of, 7–10; in sexual display, 87, 91; not epiphenomenal, 85–87; relation to differential organization, animal worlds, 67–71, 75–78, 80, 110; for Heidegger, 72, 75 art, classical Chinese, 34, 52, 122; and ephemerality, 31–32; history and historicity of, 28–31, 55; unity of, 30, 49 body, 111; in Descartes’s “substantial union,” 103–5, 108–10; Leibniz’s understanding of, 108–10. See also embodiment carnal essences, 44, 121–22 chiasm, 11, 117, 119 color, 5, 20–22, 25; dimension of, 51–52 consciousness, philosophy of, 3, 35 creation, 11, 56, 121. See also expression difference, crucial to meaning, 56; in vision and painting, 48; primacy of, 118; problematic of, 11 embodiment, 43, 104, 108; as differential , 31; in Leibniz, 10; the painter’s, 43–45. See also body embryology, as dynamic morphology, 62–64. See also organism environmental thought, 126–28 evolutionary theory, 9, 60, 91–92 expression, 29, 46, 121; anonymity of, 122; autonomy of in artistic creation, 20, 25; differential character of, 31, 78; in Leibniz, 105–8, 110; in rationalist metaphysics, 9, 44; not always at textual foreground, 5; paradox of, 112, 114, 123; philosophical, 123; primordial , 11, 16, 20, 30, 50 field, 35, 38, 50, 55–56, 64–65 flesh: as elemental, 10, 115–16; expressive multiplicity of, 115–17, 119, 121; as wild being, 121; ontology of, 11, 115, 119 freedom, 6, 7–19 icon, 44–45, 122 infinity, 99–100, 102–4 instinct, 8, 89–91; relation to symbolism , 91 institution: and expression, 4–7, 37, 39, 46; and seriality, 37; lecture courses on, 7, 35–38; of works, 38–39 intercorporeity, 88, 93 invisibilities, 45, 54, 118, 121, 123 language, 3, 5, 28, 11; and the expressivity of perception, 11; and painting, 33–36; Heidegger, 119–21; rooted in the natural world, 113–14; sedimentation in, 113 line, in visual art, 51–53 literature, 33–34, 42 mimicry, 8, 80, 82–84, 87 mirrors, 45–46, 118 motion, artistic presentation of, 51, 53–54; perception of, 65 natality, 7, 21, 36–37, 50, 56 nature, concept of, 60, 97; in Spinoza, 98, 100 170 I N D E X O F T O P I C S photography, 22, 32 plant life, 76–77 reversibility, 114, 117–19 silence, 41–42, 103 structuralism, 27–28, 103 style, 29, 115, 117, 121 technicity, 41–43, 46 trace, 32, 46 vitalism, 59, 80 organism,7; finality of, 82; Heidegger’s view of, 73; maturation of, 61–62; totality of, 65–68 painting, 7, 123; aerial perspective in, 23; autofigurative, 51, Cézanne’s practice of, 6, 15–26, 39, 52; historicity of, 34; impressionist, 39; lived perspective in, 22–23; perspectival distortion in, 22–23, 50; perspectival construction in, 22–23, 29, 35, 39, 102, 105 passivity, 36, 47, 56, 102, 117, 122 philosophy, identity of, 10–11, 34, 114, 122–23 About the Author Véronique M. Fóti is a professor of philosophy at the Pennsylvania State University who has written many articles on in European philosophy, continental rationalism, ancient Greek philosophy, and aesthetics. She is the author of Epochal Discordance: Hölderlin’s Philosophy of Tragedy (2006), Vision’s Invisibles: Philosophical Explorations (2003), and Heidegger and the Poets: Poiēsis, Sophia, Technē (1995); and the editor of Merleau-Ponty: Difference , Materiality, Painting (1996). She is also a painter, a member of the Philadelphia Society of Botanical Illustrators, and an affiliate artist at the Bellefonte Museum for Centre County in Pennsylvania. ...