Abstract

A colleague of Roland Barthes at the CNRS in the 1950s and cowriter and friend of Cornelius Castoriadis until the latter's death, Edgar Morin has until recently been too little known in the English-speaking world. In an oeuvre that spans half a century, attempting to combine in ongoing dialogue the `humanities' and `sciences', Morin has written on scientific method, fundamental anthropology, politics, contemporary life and popular culture. He is an advocate of `complex' thought, thought which does not reduce, rationalize and mutilate phenomena under examination, which emphasizes the interaction between researcher and researched, and participation as a way of being in the world. This article particularly focuses on his work on death and cinema, suggesting a strong continuity between his early studies and his more recent writing on complexity and ecology. The radically democratic complexion of Morin's writings, his emphasis on a human empathy that can incorporate notions of unity and difference, make him a thinker of great relevance for today