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La Chair des Images: Merleau-Ponty Entre Peinture et Cinéma

somewhat surprisingly, Chelstrom omits the immensely rich social ontologies of early phenomenologists such as Edith Stein, Gerda Walther, and Tomoo Otaka, altogether. Surely, this is a book on ‘Husserlian phenomenology’; however, Chelstrom (p. 160) himself takes this to be a rather ‘broad phrase’, as opposed to later Heideggerian and French phenomenology. All these critical points should in no way detract from the many merits of the present book. Quite the contrary; overall, it’s safe to say, the book is a major achievement in the field and is to be highly recommended. It is not only knowledgeable and, notwithstanding some of the mentioned lacunae, well researched, moreover, one of its invaluable virtues is to not merely avow, but indeed to take seriously the task of bridging the gap between analytic and phenomenological approaches to the topic, while not remaining neutral and yet being well balanced. Accordingly, Chelstrom’s book well deserves the attention not only of Husserl scholars, but of anyone seriously interested in the phenomenology of social reality, including, notably, analytic philosophers. The result, then, is a successful mélange of the two traditions, combining up-to-date phenomenological analysis of how we experience and act upon social reality with the argumentative rigor and clarity of analytic social ontology.