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By Mauro Carbone

French novelist Marcel Proust made well-known "involuntary memory," a weird type of reminiscence that works no matter if one is prepared or now not and that provides a remodeled recollection of earlier event.

More than a century later, the Proustian proposal of involuntary reminiscence has no longer been absolutely explored nor its implications understood. through supplying clarifying examples taken from Proust's novel and via commenting on them utilizing the paintings of French philosophers Maurice Merleau-Ponty and Gilles Deleuze, Italian thinker Mauro Carbone translates involuntary reminiscence because the human school supplying the involuntary construction of our rules in the course of the transformation of prior event.

This rethinking of the normal manner of conceiving rules and their genesis as separated from good experience-as has been performed in Western concept seeing that Plato-allows the writer to advertise a brand new idea of information, one that is better exemplified through literature and paintings even more than philosophy.

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Additional info for An Unprecedented Deformation: Marcel Proust and the Sensible Ideas (Suny Series in Contemporary Continental Philosophy)

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This passage, which refers to Proust’s Recherche, continues by stating that: “[t]he idea is this level, this dimension . . it is the invisible of this world . . ). , “the empirical genesis of the transcendental,”3 seems to be already implied in Merleau-Ponty’s above formulation. ” As I have said, the transcendental transcends experience, of which, once and for all, it “institutes” the idea, hence rendering re-presentation and recognition possible. Thus, based on what we have observed up to now, it seems possible to assert that for Merleau-Ponty initiation not only consists in the empirical foundation of the transcendental but, moreover, with its own establishment it simultaneously institutes the very distinction between a priori and a posteriori.

Actually, it can cast light on such reasons by suggesting that art is the privileged field which presents the essence of reality itself, or, put otherwise, which offers us its idea. On the other hand, it is well known that Plato employed the equivalent of these Greek terms—namely the word eidos and its cognate idea—to indicate 33 34 AN UNPRECEDENTED DEFORMATION the “intelligible world,” which he conceived as “true,” in opposition to that of the “visible,” thus placing a heavy burden on art’s possibility (which turns precisely toward the visible) of reaching the world of the ideas.

44 To use the telling expression from the title of Paul Claudel’s book (to which MerleauPonty refers in his lectures on “the ontology of today”45), we might say that this is the Wesensschau of a listening eye: an expression which, synaesthetically, refuses any analytical separation between the sensory fields and more particularly between the presupposed activity of seeing and the presupposed passivity of listening. By conferring a mature philosophical formulation to the operation of this eye, we might perhaps reach the “new ontology” that Merleau-Ponty hoped to elaborate.

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