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By Wendy Wax

A 10 seashore highway NOVELLA

Wendy Wax entranced audiences with Ten seashore highway and Ocean seashore. Now, the women of Bella plants are again in an all-new vacation novella.

When Madeline Singer, Avery Lawford, and Nicole furnish first won possession of Ten seashore highway, they didn’t notice that transforming the home wouldn't purely bind their fates jointly yet supply them a moment probability at rebuilding their lives.

Now, as Kyra, Madeline’s daughter, returns to the newly bought Bella plant life for one final Christmas, she’s hoping to get a short respite from the paparazzi that consistently hounds her and the son she had with recognized actor Daniel Deranian. but if a string of undesirable information threatens to disrupt her chuffed vacation trips, Bella Flora’s sanctuary can be threatened for the entire girls who name it home…

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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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