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Building upon Husserl's challenge to oppositions such as those between form and content and between constituting and constituted, The Concept of Passivity in Husserl's Phenomenology construes activity and passivity not as reciprocally exclusive terms but as mutually dependent moments of acts of consciousness. The book outlines the contribution of passivity to the constitution of phenomena as diverse as temporal syntheses, perceptual associations, memory fulfillment and cross-cultural communication. The detailed study of the phenomena of affection, forgetting, habitus and translation sets out a distinction between three meanings of passivity: receptivity, sedimentation or inactuality and alienation. Husserl's texts are interpreted as defending the idea that cultural crises are not brought to a close by replacing passivity with activity but by having more of both.

Philosophy. --- Phenomenology. --- Aesthetics. --- Metaphysics. --- Philosophy (General). --- Esthétique --- Métaphysique --- Phénoménologie --- Husserl, Edmund --- Passivité (psychologie)

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Phenomenology --- Passivity (Psychology) --- Phenomenological psychology --- Phénoménologie --- Passivité (Psychologie) --- Psychologie phénoménologique --- Philosophy --- Philosophie --- Husserl, Edmund, --- Phenomenology. --- Philosophy, Modern --- Passive behavior --- Passivism --- Psychology --- Husserl, Edmund --- Phénoménologie --- Passivité (Psychologie) --- Psychologie phénoménologique --- Husserl, Edmond --- Husserl, Edmund, - 1859-1938.

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Cette étude est un regard parallèle entre l'art, l'artiste en train d'oeuvrer, l'oeuvre mise en oeuvre par le peintre et l'oeuvre philosophique de Merleau-Ponty, son geste philosophique comme champ et instrument d'investigation, son intérêt pour la dimension philosophique des arts. "Mon idée est de travailler avec cette pensée, en faisant avec le philosophe des expériences de pensée (d'où la statut étrange de sa philosophie dans ce travail). Il m'est apparu entre autres, à travers les cours de 1959 et de 1961, que Merleau-Ponty accordait un rôle très particulier aux arts. Par l'étude du mode de l'expression en art, son souci était de sauver la possibilité de la philosophie dans le sens de la possibilité de l'intelligence du monde." précise l'auteur. Quelques reproductions illustrent son analyse.

Art --- Philosophy, French --- Subjectivity --- Passivity (Psychology) --- Philosophie française --- Subjectivité --- Passivité (Psychologie) --- Philosophy --- Philosophie --- Merleau-Ponty, Maurice, --- Expression (Philosophy) --- Aesthetics. --- Phenomenology. --- Philosophie française --- Subjectivité --- Passivité (Psychologie) --- Aesthetics --- Phenomenology --- Philosophy, Modern --- Self-expression --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Criticism --- Literature --- Proportion --- Symmetry --- Psychology --- Merleau-Ponty, Maurice --- Radio broadcasting Aesthetics --- Merleau-Ponty, Jean Jacques Maurice, --- Merlō-Ponty, Mōris, --- Ponty, Jean Jacques Maurice Merleau-, --- Ponty, Maurice Merleau-, --- מרלו־פונטי, מוריס, --- Merleau-Ponty, Maurice (1908-1961) --- Philosophie et art --- Création (esthétique) --- Critique et interprétation --- Et l'art --- 20e siècle

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Merleau-Ponty, Maurice, --- Passivite (psychologie) --- Passions (philosophie) --- Merleau-Ponty, Maurice --- Merleau-Ponty, Jean Jacques Maurice, --- Merlō-Ponty, Mōris, --- Ponty, Jean Jacques Maurice Merleau-, --- Ponty, Maurice Merleau-, --- מרלו־פונטי, מוריס, --- Âme, Passions de l' --- Passion (philosophie) --- Passions --- Passions de l'âme --- Passivité (philosophie) --- Pathos (philosophie) --- Catharsis --- Désir --- Émotions --- Páthos --- Raison --- Philosophie de l'homme --- Comportement passif --- Ajustement --- Personnalité passive-agressive --- Attitude --- Philosophie --- philosophie --- le mot grec --- psychologie