Question: Oscar Palmer Robertson (born November 24, 1938), nicknamed "The Big O", is an American former National Basketball Association player who played for the Cincinnati Royals and Milwaukee Bucks. The 6 ft 5 in (1.96 m), 205 lb (93 kg) Robertson played point guard and was a 12-time All-Star, 11-time member of the All-NBA Team, and one-time winner of the MVP award in 14 professional seasons. In 1962, he became the first player in NBA history to average a triple-double for a season. In the 1970-71 NBA season, he was a key player on the team that brought the Bucks their only NBA title.

Robertson continued to excel while at the University of Cincinnati, recording an incredible scoring average of 33.8 points per game, the third highest in college history. In each of his three years, he won the national scoring title, was named an All-American, and was chosen College Player of the Year, while setting 14 NCAA and 19 school records.  Robertson's stellar play led the Bearcats to a 79-9 overall record during his three varsity seasons, including two Final Four appearances. However, a championship eluded Robertson, something that would become a repeated occurrence in his professional career. When Robertson left college he was the all-time leading NCAA scorer until fellow Hall of Fame player Pete Maravich topped him in 1970. It is interesting to note that Robertson took Cincinnati to national prominence during his time there, but the university's greatest success in basketball took place immediately after his departure, when the team won national titles in 1961, 1962, and just missed a third title in 1963.  He continues to stand atop the Bearcats' record book. The many records he still holds include: points in one game, 62 (one of his six games of 50 points or more); career triple-doubles, 10; career rebounds per game, 15.2; and career points, 2,973.  Robertson had many outstanding individual game performances, including 10 triple-doubles. His personal best might have been his line of 45 points, 23 rebounds and 10 assists vs. Indiana State in 1959.  Despite his success on the court, Robertson's college career was soured by racism. In those days, southern university programs such as those of Kentucky, Duke, and North Carolina did not recruit black athletes, and road trips to segregated cities were especially difficult, with Robertson often sleeping in college dorms instead of hotels. "I'll never forgive them", he told The Indianapolis Star years later. Decades after his college days, Robertson's stellar NCAA career was rewarded by the United States Basketball Writers Association when, in 1998, they renamed the trophy awarded to the NCAA Division I Player of the Year the Oscar Robertson Trophy. This honor brought the award full circle for Robertson since he had won the first two awards ever presented.

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Problem: 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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It is speaking language, that is to say, primary expression, that interests Merleau-Ponty