IN: Maurice Merleau-Ponty (French: [moRis meRlo poti]; 14 March 1908 - 3 May 1961) was a French phenomenological philosopher, strongly influenced by Edmund Husserl and Martin Heidegger. The constitution of meaning in human experience was his main interest and he wrote on perception, art, and politics. He was on the editorial board of Les Temps modernes, the leftist magazine established by Jean-Paul Sartre in 1945. At the core of Merleau-Ponty's philosophy is a sustained argument for the foundational role perception plays in understanding the world as well as engaging with the world.

Merleau-Ponty distinguishes between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p. 207, 2nd note [Fr. ed.]) and is sometimes repeated in terms of spoken and speaking language (le langage parle et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parle), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense. It is speaking language, that is to say, primary expression, that interests Merleau-Ponty and which keeps his attention through his treatment of the nature of production and the reception of expressions, a subject which also overlaps with an analysis of action, of intentionality, of perception, as well as the links between freedom and external conditions. The notion of style occupies an important place in "Indirect Language and the Voices of Silence". In spite of certain similarities with Andre Malraux, Merleau-Ponty distinguishes himself from Malraux in respect to three conceptions of style, the last of which is employed in Malraux's The Voices of Silence. Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "uber-artist" expressing "the Spirit of Painting". Finally, it sometimes is reduced to simply designating a categorization of an artistic school or movement. (However, this account of Malraux's notion of style--a key element in his thinking--is open to serious question.) For Merleau-Ponty, it is these uses of the notion of style that lead Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting and the subjectivity of painting in his own time, a conclusion that Merleau-Ponty disputes. According to Merleau-Ponty, it is important to consider the heart of this problematic, by recognizing that style is first of all a demand owed to the primacy of perception, which also implies taking into consideration the dimensions of historicity and intersubjectivity. (However, Merleau-Ponty's reading of Malraux has been questioned in a recent major study of Malraux's theory of art which argues that Merleau-Ponty seriously misunderstood Malraux.) For Merleau-Ponty, style is born of the interaction between two or more fields of being. Rather than being exclusive to individual human consciousness, consciousness is born of the pre-conscious style of the world, of Nature.
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IN: She was born in Farnborough, Hampshire, England, the daughter of Edward Digby, 11th Baron Digby, and his wife, Constance Pamela Alice, the daughter of Henry Campbell Bruce, 2nd Baron Aberdare. Pamela was educated by governesses in the ancestral home at Minterne Magna in Dorset, along with her three younger siblings. Her great-great aunt was the nineteenth-century adventurer and courtesan Jane Digby (1807-1881), notorious for her exotic travels and scandalous personal life. Pamela was to follow in her ancestor's footsteps, being frequently cited as "the 20th-century's greatest courtesan."

Beside two additional marriages, Pamela Harriman had numerous affairs with men of prominence and wealth. During her marriage to Randolph Churchill, she had romantic involvements with men such as: W. Averell Harriman, who much later became her third husband; Edward R. Murrow; and John Hay "Jock" Whitney. Notable consorts after her divorce included Prince Aly Khan, Alfonso de Portago, Gianni Agnelli, and Baron Elie de Rothschild. Churchill became well known for her attention to detail with men. When involved romantically with a man, she paid extremely close attention to his desires, his preferences, and went to any lengths necessary to satisfy his needs during the affair. William S. Paley, briefly a consort during the war, said: "She is the greatest courtesan of the century", meaning it more as a compliment than a detraction. The more critical Max Hastings said, acerbically, "she was ... described as having become 'a world expert on rich men's bedroom ceilings'." After her divorce from Randolph Churchill, she moved to Paris and in 1948 began her five-year-long affair with Gianni Agnelli. She described this as the happiest period of her life. Agnelli, however, was not faithful in this relationship. In 1952, Pamela found him with a young woman, Anne-Marie d'Estainville, and complained strongly about this, despite her own past behaviour. Agnelli sustained a severe leg injury in a car accident while bringing d'Estainville home. Pamela nursed him through his injury, and later became pregnant (although it was never confirmed that this was by Agnelli), but had an abortion in Switzerland. Later, Princess Marella Caracciolo di Castagneto became pregnant by Agnelli, and Pamela Churchill ended the affair. Her next significant relationship was with Baron Elie de Rothschild, who was married. He supported her financially, and she was schooled in art history and wine-making during this clandestine and short relationship. During this time she also entertained an affair with the writer Maurice Druon and with the shipping magnate Stavros Niarchos.
QUESTION:
Did she have a lot of affairs?