This paper examines the ways Merleau-Ponty and Nancy think about light, a central theme in Western philosophy closely tied with form and intelligibility. The first section of this paper points out that each thinker replaces the “highest moment of light,” where it is relieved of its weight and materiality, with darkness, where light instead emerges from some apophantic depth indissociable from the material. The second section of this paper gives a critique of darkness in Nancy from Merleau-Ponty’s perspective. According to (...) the latter’s view, Nancy’s claim that darkness is distinct from the structures of intentionality and instead has to do with a presentation of the inappropriable fact of things would be untenable. The difference between the thinkers relates to how each thinks about negation after their very similar critiques of light and form. Still, I argue, the same critique of presentation in Nancy ought to also be applied to Merleau-Ponty, or at least to the usual way he is thought to favour the sensible instead of intelligibility. In the third section of this paper I consider one of Merleau-Ponty’s phrases, “there is no painting before painting,” a statement I take to be about how explicit formal structures, and thus also light and line, comes from a sensible register that does not lack variation and is not totally “deformed,” to use Nancy’s word that describes the homogeneity of a sensible field. Cet essai examine les différentes façons qu’ont Merleau-Ponty et Nancy de penser la lumière, un thème central de la philosophie occidentale, et qui est étroitement lié avec les idées de forme et d’intelligibilité. La première section montre que les deux penseurs remplacent le « plus haut moment de la lumière », qui est sans poids ni matérialité, par l’obscurité, si bien que la lumière émerge d’une profondeur apophantique indissociable de la matérialité. La deuxième section propose un critique de l’obscurité chez Nancy d’une perspective merleau-pontienne. Pour Merleau-Ponty, l’affirmation de Nancy selon laquelle l’obscurité se distingue des structures de l’intentionalité et a plutôt affaire à la présentation du fait inappropriable de la chose serait tout à fait intenable. La différence entre les deux penseurs concerne la façon dont chacun pense la négation à partir d’une critique similaire de la lumière et de la forme. J’avance pourtant que la même critique de la présentation chez Nancy devrait aussi être appliquée à Merleau-Ponty, ou du moins à la façon dont il est habituellement vu comme préférant le sensible contre l’intelligible. Dans la troisième section, j’évalue la phrase de Merleau-Ponty, « la peinture n’existe pas avant la peinture », phrase qui selon moi concerne la façon dont les structures formelles explicites, et donc la forme et la ligne, proviennent d’un registre sensible qui n’est pas sans variations et donc pas totalement « déformé », pour utiliser le mot que Nancy emploie pour décrire l’homogénéité du champ sensible.Questo articolo prende in esame i modi in cui Merleau-Ponty e Nancy riflettono sulla luce, un tema centrale nella filosofia occidentale e strettamente connesso a quelli della forma e dell’intelligibilità. La prima sezione dell’articolo mostra come entrambi i pensatori sostituiscano “il più alto momento della luce”, che la libera dal suo peso e dalla sua materialità, con l’oscurità, in cui invece la luce emerge da una profondità apofantica indissociabile dalla sfera materiale. La seconda sezione offre una critica del concetto di oscurità in Nancy dal punto di vista di Merleau-Ponty. Secondo una prospettiva merleau-pontiana, la tesi di Nancy che l’oscurità sia distinta dalle strutture dell’intenzionalità e sia invece connessa a una presentazione dell’aspetto inappropriabile delle cose sarebbe insostenibile. La differenza tra i due pensatori riguarda il modo in cui ciascuno di essi elabora l’idea di negazione, a partire da due analisi della luce e della forma molto simili. Tuttavia, come cerco di mostrare, la stessa obiezione all’idea di presentazione in Nancy dovrebbe essere applicata anche a Merleau-Ponty, o quantomeno al modo in cui di norma si ritiene egli prediliga il sensibile piuttosto che l’intelligibile. Nella terza sezione, prendo in esame una frase di Merleau-Ponty, “non c’è pittura prima della pittura”, che a mio avviso si riferisce a come le strutture formali esplicite, e dunque anche la luce e la linea, provengano da un registro sensibile che non è privo di variazioni e che non è totalmente “deformato”, per impiegare un termine di Nancy che descrive l’omogeneità di un campo sensibile. (shrink)

J.S. Mill's plural voting proposal in Considerations on Representative Government presents political theorists with a puzzle: the elitist proposal that some individuals deserve a greater voice than others seems at odds with Mill's repeated arguments for the value of full participation in government. This essay looks at Mill's arguments for plural voting, arguing that, far from being motivated solely by elitism, Mill's account is actually driven by a commitment to both competence and participation. It goes on to argue that, for (...) Mill, much of the value of political participation lies in its unique ability to educate the participants. That ability to educate is not, however, a product of participation alone; rather, for Mill, the true educative benefits of participation obtain only when competence and participation work together in the political sphere. Plural voting, then, is a mechanism for allowing Mill to take advantage of the educative benefits that arise from the intersection of competence and participation. (shrink)

J M Tarrant; J. Wilson and B. Cowell on the Democratic Myth, Journal of Philosophy of Education, Volume 18, Issue 1, 30 May 2006, Pages 123–127, https://doi.org.

Thomas J.J. Altizer is one of the most important theologians of the twentieth and early twenty-first centuries, and all radical theology must pass through and be conversant with his work and the historical significance of his earlier contributions. This chapter presents Altizer’s essential ideas in a straightforward and accessible manner and provides a guide for the beginning reader.