In 1991, Jean-Luc Nancy's heart gave out. In one of the first such procedures in France, a stranger's heart was grafted into his body. Numerous complications followed, including more surgeries and lymphatic cancer. The procedure and illnesses he endured revealed to him, in a more visceral way than most of us ever experience, the strangeness of bodily existence itself and surviving the stranger within him. During this same period, Europe began closing its borders to those seeking refuge from war and (...) poverty. Alarmed at this trend and drawn to a highly intimate form of strangeness with which he had been living for years, Nancy set out in The Intruder to articulate how intrusion--whether of a body or a border--is not antithetical to one's identity but constitutive of it. In 2004, Claire Denis adapted The Intruder into a film already hailed among the most important of our century. This edition includes Nancy's and Denis's accounts of turning philosophy into film and the text of a shorter collaboration between the two of them. Throughout, Nancy and Denis push us to recognize that to truly welcome strangers means a constant struggle against exoticism, enforced assimilation, and confidence in our own self-identity. (shrink)

Economic crisis emerges as a central feature of globalization and, in particular, of the structural instability of transnational capital circulation since the 1970s. The strategies of neoliberalism––deregulation, privatization, and expropriation of wealth toward the richer nations––redoubled the indebtedness of the global South and helped provoke debt crises in nations from Mexico in the 1980s and East Asia in the 1990s to Argentina, Iceland and Greece in the 2000s. Embedded as it almost always is within the global circuits of capitalist culture, (...) cinema has a particularly complex relationship to globalization: these economic shifts affect film funding, modes of production, and the institutions of international .. (shrink)

This article draws on the interrelated concepts of reverie and repose in Gaston Bachelard's philosophy to approach Claire Denis' poetic foregrounding of objects in 35 Shots of Rum (35 Rhums, 2008). Connecting Bachelard's work on time to his later studies of the imagination, I demonstrate how the poetic time of reverie and repose are essential to Bachelard's thinking. Focusing on three especially charged objects (trains, rice cookers and lanterns), I argue for reverie and repose as being embedded into (...) the rhythmic structure, affective organisation and form of Denis' film. Contextualising Bachelard's later thinking in relation to Eugène Minkowski, I maintain that Denis' objects reverberate (both formally and sensuously). In 35 Shots of Rum, Denis' poetic objects and her evocation of different in-between states parallels Bachelard's own materialist thinking on the imagination, reverie and repose. (shrink)

On the young bride’s shoulder is a mauve bite mark: the outline of a mouth, a double arch,teeth marks, open jaws, lips raised up over hard enamel. Not the barely open lips of a kisson the skin; open, rather, as for a kiss on the mouth, but this time penetrating the skin: abristling kiss with the teeth bared, extreme – at the limit of the kiss, or beyond. A cruelkiss: a kiss of flesh . A young couple kisses in a (...) plane: the beginning ofthe film. Later we will see this icon, not knowing when it was imprinted, like a tattoo or abranding with the red hot iron of some ancient justice.What is a kiss? This is the question posed by Claire Denis’s film. Or rather: what isfucking?2It has long been accepted and repeated that kissing is a kind of devouring. Itbelongs to a core of imagery and metaphor that includes fairy tales , the fascination with cannibalism, the symbolism of Christian communion andthat of the lacerations of Dionysos, Osiris or Acteon, together with ghouls, striges andvampires, werewolves, incubi and succubi. This entire carnivorous breed is concealedwithin the film. It is recalled in its entirety, evoked by the gesture of Coré, the sick woman, standing on a bank, filmed from a low angle raising her coat aboveher shoulders to bring to mind for a moment the silhouette of Murnau’s Nosferatu.The vampire’s true formula is only revealed when one says ‘the kiss of the vampire’.That is what is at stake here, allowing for the fact that we are no longer in the era ofvampire stories: the kiss as vampire.It is not a question of any particular kiss, but rather that the kiss, in itself, opens on to the bite, and the taste of blood. And consequently it is a question of another wellknown coupling, that of Eros and Thanatos: not in a dialectic of opposites, but in a mutualexcitation and exasperation, each asking the other to go further, to go all the way to theend, to get completely lost. (shrink)

I argue for the unexceptionality of evidence about what rationality requires. Specifically, I argue that, as for other topics, one’s total evidence can sometimes support false beliefs about this. Despite being prima facie innocuous, a number of philosophers have recently denied this. Some have argued that the facts about what rationality requires are highly dependent on the agent’s situation and change depending on what that situation is like. (Bradley 2019). Others have argued that a particular subset of normative truths, those (...) concerning what epistemic rationality requires, have the special property of being ‘fixed points’—it is impossible to have total evidence that supports false belief about them. (Smithies 2012; Titelbaum 2015). Each of these kinds of exceptionality permits a solution to downstream theoretical problems that arise from the possibility of evidence supporting false belief about requirements of rationality. However, as I argue here, they incur heavy explanatory burdens that we should avoid. (shrink)

The two essays in the volume follow a long tradition in critical discourse that turns to Art's domain as a source of inspiration, instruction, and as material for the construction of its concepts and the development of its problems. The case study of Suite Grunewald, 159+1 variations, by the artist Titus-Carmel, returns to a subject that has been eclipsed in past decades by the imperative to remember: namely, the creation of the new as an event, or rather, the event of (...) the new as creation. This is an especially vexatious problem following, on the one hand, the massive displacement of the subject as the author and creator of its works and, on the other, the introduction of the influential Deleuzian-Bergsonian notion of the new as immanent continuity rather than - as the commonsense notion would have it - a rupture, interruption, and discontinuity. The first essay develops this problematic by working alongside with Titus-Carmel variations / deconstruction of Grunewald's original painting of the "Crucifixion" as an exemplary site where the creation of the new - at once incalculable and necessary - finds a living and urgent expression. The second essay stages an encounter and sets free the resonances between the writing of Jean-Luc Nancy on and around the "body" and the cinema of Claire Denis as a cinema that mobilizes the force of bodies that it itself invents, and to which it gives a unique form of presence. (shrink)

Can we make mistakes about what rationality requires? A natural answer is that we can, since it is a platitude that rational belief does not require truth; it is possible for a belief to be rational and mistaken, and this holds for any subject matter at all. However, the platitude causes trouble when applied to rationality itself. The possibility of rational mistakes about what rationality requires generates a puzzle. When combined with two further plausible claims – the enkratic principle, and (...) the claim that rational requirements apply universally – we get the result that rationality generates inconsistent requirements. One popular and attractive solution to the puzzle denies that it is possible to make rational mistakes about what rationality requires. I show why (contra Titelbaum (2015b), and Littlejohn (2015)) this solution is doomed to fail. (shrink)

A familiar part of debates about supererogatory actions concerns the role that cost should play. Two camps have emerged: one claiming that extreme cost is a necessary condition for when an action is supererogatory, while the other denies that it should be part of our definition of supererogation. In this paper, I propose an alternative position. I argue that it is comparative cost that is central to the supererogatory and that it is needed to explain a feature that all accounts (...) agree is central to the very notion of supererogation: optionality. Perhaps because of this agreement on its importance, few attempts have been made to clarify and explain the notion of optionality. I argue that giving an account of the optionality of supererogatory requires drawing a line between doing the bare minimum permissible and going beyond the bare minimum and that this line ought to be drawn based on comparative cost of alternative permissible acts. Having outlined my account and motivated it, I discuss and reject two concerns that might be raised: firstly, that it is extreme cost, not comparative cost, that matters and, secondly, that in fact no cost is needed for an act to be supererogatory. (shrink)

Contraception works by preventing fertilization of an egg or preventing implantation of a fertilized embryo. For those who believe pregnancy begins at implantation, contraceptives preventing implantation are not abortifacient. However, for those who assert that pregnancy begins at fertilization, any agent causing the intentional loss of an embryo, even prior to implantation, is abortifacient, both morally and for lack of a different term to describe the postfertilization, preimplantation loss. In the debate on this topic, much of the discourse on both (...) sides wrongly focuses on the opposing side's perceived ignorance in denying scientifically proven definitions rather than on the substance of the conflict. Indeed, both sides accuse the other of prioritizing its “subjective” views over “objective” facts. In this essay, we unpack the scientific, cultural, and religious factors that underlie this debate. We argue that the only way to move forward is to clarify our terminology and engage with the substance of the argument, rather than merely the rhetoric. (shrink)

Ce volume d’entretiens commence par un texte de Gilles Deleuze qui ouvre le premier chapitre, intitulé « Un entretien, qu’est-ce que c’est, à quoi ça sert? » Deleuze s’interroge sur l’utilité, sur la légitimité du dialogue dans lequel il a accepté d’entrer. En d’autres termes, il se demande s’il n’est pas en train de perdre son temps et s’il ne ferait pas mieux de retourner à ses travaux, lecture, écriture, réflexion. Bref, ne vaudrait-il pas mieux « faire » de la (...) philosophie au lieu de bava... (shrink)

The field of development ethics has evolved over the years to incorporate topics that have become of the utmost importance in achieving fair and sustainable development for all. This is not the place to review such a conceptual evolution from the origins of Denis Goulet’s writings, but I wish to note how the saliency of development ethics is highly dependent on speaking to and relating with issues of central importance to global society. In this brief piece I want to (...) focus on a particular challenge for the field of development ethics: how to move beyond rethinking and reframing so this field provides guidance for the needed systemic global transformations. (shrink)

Les Principes de la connaissance humaine sont l'occasion pour Berkeley de nier l'existence des idées générales abstraites. Il admet cependant l'existence d'idées générales, plus exactement d'idées déterminées à signification générale. C'est ainsi qu'il peut rendre compte de la généralité de certaines démonstrations. L'exemple choisi est celui de l'idée de triangle dans le cadre d'une démonstration géométrique. Mais peut-on également rendre compte de cette manière des démonstrations et des idées algébriques et notamment celle de quantité? In the Principles of human knowledge, (...) Berkeley clearly denies the existence of abstract general ideas. He assumes, however, the existence of general ideas or, more exactly, of determinate ideas with a general meaning. In this way, he explains the generality of certain demonstrations. He chooses the example of the idea of a triangle within a geometrical demonstration. But can he likewise account for algebraic demonstrations and ideas, and in particular for the idea of quantity? (shrink)

Throughout the twentieth century a significant tradition in French thought promoted a highly dramatized reading of the Hegelian struggle for recognition. In this tradition a violent struggle was regarded as an indispensable means to the realization of both individual and social ideals. The following article considers Claire Denis's film I Can't Sleep as an oblique challenge to this tradition. I Can't Sleep performs a careful dedramatization of an extremely violent story and thereby points to the possibility of an (...) alternative form of co-existence outside a logic of conflict. (shrink)

A child of the era of decolonization, Claire Denis grew up in various regions of France’s subSaharan colonial lands, and was brought back to the ‘métropole’ as a teenager in the 1960s.She has thus had a double practice of foreignness, abroad, and in her ‘own’ country, whichshe did not know and where, in similar yet fundamentally different ways than in Africa, shefelt like an outsider again. As the daughter of a colonial administrator – a childhoodbeautifully evoked in her (...) first feature, Chocolat – she had stood as a highly visibleembodiment of the Western presence on colonial soil. On her return to France, she wouldlive through the more banal experience of becoming an invisible intruder, an exile at‘home’– a theme explored in her subsequent works. From the start, Denisthus drew on her personal knowledge of feeling rootless to explore issues that haveremained at the heart of her filmmaking: the deeply perplexing questions of identity andalienation, assimilation and rejection, desire and fear inseparable from the post-colonialmalaise that affects France with particular acuteness. (shrink)

Body and image are crucial to the elaboration of both Jean-Luc Nancy’s philosophy andClaire Denis’s work in cinema. Nancy’s short book about the body, Corpus ,though it may initially have appeared as a minor work in his œuvre, has since been shown,and notably since the intervention of Jacques Derrida, as the cornerstone of much ofNancy’s late thought. As Derrida demonstrates, Nancy’s interest in the body turnsaround the crucial trope of touch which comes to stand, in his philosophy, as the (...) marker ofthe most fundamental limits that shape our understanding of and interaction with theworld: between inside and outside, subject and object, matter and meaning. As such, theconcept of touch frequently recurs in the discussion of art works, where the inscription of amaterial trace coincides with, or touches upon an evanescent sense. Nancy’s discussions ofartistic meaning have frequently centred around images – both painterly and filmic – asthe phenomena whereby the real, in manifesting its presence, is granted a certain sense.1Claire Denis, in common with the vast majority of live-action filmmakers, necessarily dealsin images and bodies – images of bodies – but her frequent refusal to provide thetraditional cinematic signifiers of psychological depth often means that the spectator isbrought up short before the strangeness of these bodies as bodies, which in turn opens upan interrogation as to the sense of her images. The mutual fascination that exists betweenNancy and Denis is well established, demonstrated by Nancy’s detailed, published engagements with Denis’s films – Beau travail , Trouble Every Day , L’Intrus – as well as by Denis’s short film portrait of the philosopher – Vers Nancy –and her cryptic appropriation of his text L’Intrus . But their engagement witheach other’s work appears in the image of Nancy’s somewhat abstract conception of touch:an approaching and withdrawing, a momentary proximity to the other that serves as muchto consolidate the stable identity of the one as it does to share in the identity of the other.Mirroring this intermittent relationship, this article will seek not to over-state theinterpenetration of the two œuvres, but merely to sketch some points of contact betweenthem, turning notably around the fascinating, but perhaps ultimately untouchable figureof the wound. (shrink)

Descartes semble s’être donné plus d’un but dans le passage du morceau de cire de la seconde Méditation. L’un est de dire quelles propriétés des corps sont claires et distinctes ou appartiennent à leur essence. Un autre est de montrer en quoi le moi pensant est « mieux connu » que les choses matérielles bien que, contrairement aux corps, il ne puisse être représenté par les sens ou à l’aide de l’imagination. Il fait également des remarques importantes à propos du (...) rôle de l’entendement, par opposition à celui des sens, dans notre connaissance aussi bien de l’esprit que des corps. La question traitée dans ce qui suit est celle de savoir quel est son but premier. Celui-ci, d’après l’inter- prétation que je vais défendre, a égard non pas à notre conception des corps mais, comme dans le reste de cette Méditation, à celle de l’esprit considéré comme une substance pensante.Descartes seems to have several purposes in mind in the well known " piece of wax passage " of the second Meditation. One is to state which properties of material things are clear and distinct, or belong to their essence. Another is to show that the thinking self is " better known " than material things, although, unlike bodies, it is not something which falls under sense or imagination. In addition, he also makes some important points concerning the role of the understanding, as opposed to the senses, in our knowledge of the mind and of bodies. The question I wish to pose in this paper is : What is Descartes’ main goal ? According to the interpretation I will defend, his first concern relates not to our conception of bodies but, as in the rest of this Meditation, to our conception of the mind as a thinking substance. (shrink)

"Aucun philosophe n'est plus connu que Descartes, et aucun n'est plus mal connu. Chacun croit savoir ce qu'il a dit, et beaucoup se dispensent de le lire. En vingt et un chapitres clairs et vifs, qui touchent aux différentes parties de l'oeuvre (méthode, métaphysique, physique, morale), ce livre dresse un tableau des méprises les plus constantes et présente les textes de nature à les dissiper. La raison cartésienne n'est pas sèche et doctrinaire comme on l'imagine : elle est exceptionnellement réfléchie (...) et par là toujours exemplaire."--Page 4 of cover. (shrink)

This article traces how the sociologist Norbert Elias understands what leads an individual to say ‘we', to form a mental unit with a group, but also to refuse to form a unit or to feel part of it, or even to deny being an integral part of a ‘we’ to which close interdependent relationships nonetheless like him. His social and group theory of identity, which rejects the division between the individual and society, led Elias to develop the idea that two (...) types of image, the I-image and the We-image, organise how individuals perceive themselves, and to forge the idea that the representation they have of themselves is made up of both an I-ideal and a We-ideal. After giving a detailed presentation of this approach to identity, which, based on Freudian principles, radically alters and modifies the Freudian perspective and topic, we propose to highlight the questions it raises and, in some cases, leaves unanswered. (shrink)

Background: Current practice frequently fails to provide care consistent with the preferences of decisionally-incapacitated patients. It also imposes significant emotional burden on their surrogates. Algorithmic-based patient preference predictors (PPPs) have been proposed as a possible way to address these two concerns. While previous research found that patients strongly support the use of PPPs, the views of surrogates are unknown. The present study thus assessed the views of experienced surrogates regarding the possible use of PPPs as a means to help make (...) treatment decisions for decisionally-incapacitated patients. -/- Methods: This qualitative study used semi-structured interviews to determine the views of experienced surrogates [n=26] who were identified from two academic medical centers and two community hospitals. The primary outcomes were respondents’ overall level of support for the idea of using PPPs and the themes related to their views on how a PPP should be used, if at all, in practice. -/- Results: Overall, 21 participants supported the idea of using PPPs. The remaining five indicated that they would not use a PPP because they made decisions based on the patient’s best interests, not based on substituted judgment. Major themes which emerged were that surrogates, not the patient’s preferences, should determine how treatment decisions are made, and concern that PPPs might be used to deny expensive care or be biased against minority groups. -/- Conclusions: Surrogates, like patients, strongly support the idea of using PPPs to help make treatment decisions for decisionally-incapacitated patients. These findings provide support for developing a PPP and assessing it in practice. At the same time, patients and surrogates disagree over whose preferences should determine how treatment decisions are made, including whether to use a PPP. These findings reveal a fundamental disagreement regarding the guiding principles for surrogate decision-making. Future research is needed to assess this disagreement and consider ways to address it. (shrink)

Claire Katz & Lara Trout, Emmanuel Levinas. Critical Assessments of Leading Philosophers ; Thomas Bedorf, Andreas Cremonini, Verfehlte Begegnung. Levinas und Sartre als philosophische Zeitgenossen ; Samuel Moyn, Origins of the Other: Emmanuel Levinas between Revelation and Ethics ; Pascal Delhom & Alfred Hirsch, Im Angesicht der Anderen. Levinas’ Philosophie des Politischen ; Sharon Todd, Learning from the other: Levinas, psychoanalysis and ethical possibilities in education ; Michel Henry, Le bonheur de Spinoza, suivi de: Etude sur le spinozisme de (...) Michel Henry, par Jean-Michel Longneaux ; Jean-François Lavigne, Husserl et la naissance de la phénoménologie. Des Recherches logiques aux Ideen: la genèse de l’idéalisme transcendantal phénoménologique ; Denis Seron, Objet et signification ; Dan Zahavi, Sara Heinämaa and Hans Ruin, Metaphysics, Facticity, Interpretation. Phenomenology in The Nordic Countries ; Dimitri Ginev, Entre anthropologie et herméneutique ; Magdalena Mărculescu-Cojocea, Critica metafizicii la Kant şi Heidegger. Problema subiectivităţii: raţiunea între autonomie şi deconstrucţie. (shrink)

Leo Bersani’s career spans more than fifty years and extends across a wide spectrum of fields—including French studies, modernism, realist fiction, psychoanalytic criticism, film studies, and queer theory. Throughout this new collection of essays that ranges, interestingly and brilliantly, from movies by Claire Denis and Jean-Luc Godard to fiction by Proust and Pierre Bergounioux, Bersani considers various kinds of connectedness. _Thoughts and Things_ posits what would appear to be an irreducible gap between our thoughts and things. Bersani departs (...) from his psychoanalytic convictions to speculate on the oneness of being—of our intrinsic connectedness to the other that is at once external and internal to us. He addresses the problem of formulating ways to consider the undivided mind, drawing on various sources, from Descartes to cosmology, Freud, and Genet and succeeds brilliantly in diagramming new forms as well as radical failures of connectedness. Ambitious, original, and eloquent, _Thoughts and Things_ will be of interest to scholars in philosophy, film, literature, and beyond. (shrink)

During the last three decades, Europe has undergone numerous periods of economic and political instability. The process of European integration, once hailed as a beacon of a peaceful co-operation between many, if not all, European nations appears to be stagnating, giving rise to notoriously more frequent manifestations of xenophobic violence, nationalism and right-wing fundamentalism. This book evaluates the portrayal of the migrant Other in selected examples of contemporary French and German cinema from the period 1989-2020 in the context of the (...) ongoing debate about European identity and its socio-political significance. It focuses on the films of some of Europe's most prolific contemporary filmmakers, such as Michael Haneke, Claire Denis and Fatih Akin. It examines cinema's importance not only in reference to various theoretical evaluations of the concept of European identity, but also many notable events that have taken place in Europe in the last thirty years, such as the collapse of the 'Iron Curtain' in 1989, the historical expansion of the European Union in 2004, the migration 'crisis' of 2015, 'Brexit' and the war in Ukraine. (shrink)

Serge Daney is widely recognised in his homeland as the most important French film critic after André Bazin. In a career devoted to criticism for Cahiers du cinéma and later Libération, including a key period as editor during the transition from the journal’s PCF and then Maoist phase beginning in 1973, Daney also held a lecturing position for a spell at the University of Paris, Paris III, La Censure. He was a significant public intellectual and featured in several documentaries, including (...) Claire Denis’ film Jacques Rivette – Le veilleur. From 1985 to 1990 Daney presented a programme on cinema on the radio station France Culture. Following the publication of a book on Haitian politics in 1973 under the assumed name Raymond Sapène, Daney’s journalism was collected in several volumes. He left Libération in 1981 to establish Trafic, a journal which, since his death from Aids in 1992, has continued his legacy. The only book-length English translation of Daney’s writings to date – Postcards from the Cinema – is of the posthumously published Persévérances. (shrink)

This chapter wagers that dance holds a singular, irreducible place in Nancy's work, that it cannot be reduced to thought about dance, and that it provides a way to understanding Nancy's approach to visual culture in general, to equality, and to the circulation of sense in terms of what he calls singular plural being. The chapter takes its starting point from Nancy's discussions of dance in the as yet untranslated Allitérations, a series of email exchanges from 2003 and 2004 followed (...) by transcriptions of face-to-face exchanges between Nancy and choreographer Mathilde Monnier loosely addressing the question of the relation between philosophy and dance, and a conversation between Nancy, Monnier and film-maker Claire Denis. In the first half of the book Nancy raises two questions, each presenting a pair of seemingly irreconcilable demands: 1. How can we understand dance as something open to everyone while retaining the privilege of professional expertise? 2. How can we understand dance in a way that maintains its uniqueness, not reducing it to an example of thought or a vehicle for thought, and yet still allowing for a relation between dance and thought? Both questions invite us to think the privilege of dance together with its openness; its singularity together with its plurality. As Nancy and Monnier grapple with these seemingly contradictory demands in Allitérations, their conversation opens up onto a fresh way to think political equality, and a different way to understand – or ‘catch’, a much more suitable term that I shall introduce later in this chapter – the sense of the world. It is by taking a detour via ‘The Image: Mimesis and Methexis’ that we can also see how Nancy's approach to dance can open to a new way of engaging with visual culture in general. -/- The point in this chapter is not simply to use dance as an example or illustration that helps us better to understand Nancy's approach to visual culture or the Nancean singular plural or his notion of ‘sense’, for in considering dance in terms of art, singular plurality and sense, we shall also be drawn to reassess sense, art and the singular plural in terms of dance. (shrink)

Given the increasing complexity of living in a global village, countries and regions that are parts of larger political entities frequently have considered the option of separating or seceding an ideal solution to their problems with a larger center of power. Isolation, a form of “freedom from,” has the potential of offering them free rein or “freedom to” manage their affairs for their own sake. Francophone playwrights and filmmakers have found the dialectical interplay between “freedom from” and “freedom to” fertile (...) dramatic soil for plays and films. Some of them work in both of these and other genres. These works seem to ask the same question: Is it desirable or possible to achieve both, even in ideal isolation, without suffering cultural stagnation or repeating the abuse of power on the part of the political center that led to the separation? This article explores the answers to this question given in the plays of Aimée Césaire, Anne Hébert, and Wajdi Mouawad within the greater context for this issue found in J. M. Coetzee’s Waiting for the Barbarians and Azouz Begag’s Un Mouton dans la baignoire and in francophone films by Raoul Peck, Bertrand Tavernier, Claire Denis, Rachid Bouchareb, Ousmane Sembène, Michael Haneke, and Mathieu Kasovitz. (shrink)

Quel sens donner à l'intrusion quand celle-ci est inséparable d'une mise en danger potentiellement mortelle de ce qui se pense ' un ', mais qu'elle est en même temps nécessaire pour que quelque chose advienne? Quelles perspectives ontologiques, esthétiques et politiques la venue de l'autre ouvre-t-elle alors qu'il peut nous mettre ' hors de nous '? Comment, de fait, l'intrus ne vient-il pas toujours d'ailleurs? La lecture de L'Intrus de Jean-Luc Nancy et des liens qui se tissent entre le philosophe, (...) la réalisatrice Claire Denis et les réalisateurs Nicolas Klotz et Rabah Ameur-Zaïmeche, permet d'envisager comment la notion d'ex-criture donne lieu à des gestes cinématographiques: greffe, adoption, adaptation ou encore intégration. (shrink)

When considering possible theoretical perspectives for an ethical conceptualisation oferotic or sexually explicit display in cinema, such as recent controversial work by Frenchfemale directors Catherine Breillat and Claire Denis, the thought of Emmanuel Levinas isperhaps not the most likely or obvious candidate. Levinas has little to say directly aboutsexuality or pornography, even though the concepts of desire and Eros are central tomuch of his philosophy.1Equally, he is notoriously suspicious of figurality and the realmof the visual, a suspicion he (...) voices especially forcefully in his essay on the work of art‘Reality and its Shadow’ . It is,paradoxically, and perhaps perversely, for this very reason that this article will considerhim as potentially the theorist par excellence for viewing sexual images in cinema. (shrink)

This article will argue that ‘A-religion’ , Jean-Luc Nancy’s reading of Claire Denis’sBeau travail , can be understood in the context of concerns he explores elsewherein his philosophical work.1I will be focusing here on the ways in which his thinking ofquestions of community and Christianity and Dis-Enclosure respectively) can be seen to influence anddirect his reading of Denis’s film. Beau travail, this article will argue, comes to represent forNancy a point of intersection between two main issues: the (...) demand of community on theone hand and the deconstruction of Christianity on the other, that is, broadly speaking, thepolitical on the one hand and the theological on the other. (shrink)

_Explores the philosophical, literary, and psychoanalytic significance of film endings._ Editing has been called the language of cinema, and thus a film’s ending can be considered the final punctuation mark of this language, framing everything that came before and offering the key to both our interpretation and our enjoyment of a film. In _Cinematic Cuts_, scholars explore the philosophical, literary, and psychoanalytic significance of film endings, analyzing how film endings engage our fantasies of cheating death, finding true love, or determining (...) the meaning of life. They examine how endings offer various forms of enjoyment for the spectator, from the momentary fulfillment of desire in the happy ending to the pleasurable torment of an indeterminate ending. The contributors also consider how film endings open onto larger questions relating to endings in our time. They suggest how a film ending’s hidden counternarrative can be read as a political act, how our interpretation of a film ending parallels the end of a psychoanalytical session, how film endings reveal our anxieties and fears, and how cinema itself might end with the increasing intervention of digital technologies that reorient the spectator’s sense of temporality and closure. Films by Akira Kurosawa, Lars von Trier, Joon-Hwan Jang, Claire Denis, Christopher Nolan, Jane Campion, John Huston, and Spike Jonze, among others, are discussed. (shrink)

ABSTRACT:In a series of reports the United Nations Special Representative on the issue of Human Rights and Transnational Corporations has emphasized a tripartite framework regarding business and human rights that includes the state “duty to protect,” the TNC “responsibility to respect,” and “appropriate remedies” for human rights violations. This article examines the recent history of UN initiatives regarding business and human rights and places the tripartite framework in historical context. Three approaches to human rights are distinguished: moral, political, and legal. (...) It is argued that the tripartite framework’s grounding of the responsibility of TNCs to respect human rights is properly understood as moral and not merely as a political or legal duty. A moral account of the duty of TNCs to respect basic human rights is defended and contrasted with a merely strategic approach. The main conclusion of the article is that only a moral account of the basic human rights duties of TNCs provides a sufficiently deep justification of “the corporate responsibility to respect human rights” feature of the tripartite framework. (shrink)

By means of a consideration of Whitman (1998) the present paper considers the meanings of ‘Panglossianism’ and the relation between group and individual levels in evolution. It establishes the connection between the Panglossian policy prescription of laissez-faire and the mistaken evolutionary theory of group selection. Analysis of the passages in Hayek cited by Whitman shows that, once these passages are taken in context, and once the appropriate meaning of the term ‘Panglossian’ has been clarified, they fail to defend Hayek from (...) this charge, but, on the contrary, confirm that Hayek was, indeed, ‘a Panglossian evolutionary theorist’. (shrink)

The Modern Synthesis has dominated biology for 80 years. It was formulated in 1942, a decade before the major achievements of molecular biology, including the Double Helix and the Central Dogma. When first formulated in the 1950s these discoveries and concepts seemed initially to completely justify the central genetic assumptions of the Modern Synthesis. The Double Helix provided the basis for highly accurate DNA replication, while the Central Dogma was viewed as supporting the Weismann Barrier, so excluding the inheritance of (...) acquired characteristics. This article examines the language of the Modern Synthesis and reveals that it is based on four important misinterpretations of what molecular biology had shown, so forming the basis of the four Illusions: 1. Natural Selection; 2. The Weismann Barrier; 3. The Rejection of Darwin’s Gemmules; 4. The Central Dogma. A multi-level organisation view of biology avoids these illusions through the principle of biological relativity. Molecular biology does not therefore confirm the assumptions of the Modern Synthesis. (shrink)

Libertarian theories of the normative core of the corporation hold in common the view that is the responsibility of publicity held corporations to return profits to shareholders within the bounds of certain moral side-constraints. Side-constraints may be either weak (grounded in the rules of the game) or strong (grounded in rights). This essay considers libertarian arguments regarding the normative core of the corporation in the context of global capitalism and in the light of actual corporate behavior. First, it is argued (...) the weak side-constraints view is conceptually incoherent when applied in a global context. Second, it is argued that proponents of the libertarian strong side-constraints view lack an adequate theory of rights. Third, both the weak side-constraints view and the strong side-constraints view are shown to be unsatisfactory insofar as they fail to adequately address the coercive power of corporations. The main conclusion of this essay is that a viable libertarian theory of the corporation has yet to be articulated. (shrink)

There are two competing interpretations of the modern synthesis theory of evolution: the dynamical (also know as ‘traditional’) and the statistical. The dynamical interpretation maintains that explanations offered under the auspices of the modern synthesis theory articulate the causes of evolution. It interprets selection and drift as causes of population change. The statistical interpretation holds that modern synthesis explanations merely cite the statistical structure of populations. This paper offers a defense of statisticalism. It argues that a change in trait frequencies (...) in a population can be attributed only to selection or drift against the background of a particular statistical description of the population. The traditionalist supposition that selection and drift are description‐independent causes of population change leads the dynamical interpretation into a dilemma: it must face a contradiction or accept the loss of explanatory power. (shrink)

Denis Worrall draws on 20th century South African history and his own experience as a South African to show some of the less obvious but extremely important facets of apartheid that directly impact its dissemination.

This paper tackles the issue of the diversity of déjà experiences. According to the standard view in the neuropsychological literature, they should all be defined by means of a psychological criterion, by which they are experiences triggered by a perceived item and consist of a conscious clash between a first-order feeling of familiarity about the item and a second-order evaluation that assesses the first-order feeling as erroneous. This paper dismisses the standard view and contends there are two types of déjà (...) experiences, labeled déjà vu and déjà vécu respectively. But it also takes issue with the rare proponents of a distinct déjà vécu type. Contrary to their achievement view, it argues that recollection is not involved in déjà vécu experiences as an actual mental state or a component thereof. In our ability view, déjà vécu involves the feeling that one could recollect past occurrences of a currently lived episode of experience. (shrink)

This paper explores how a virtuous Kantian agent would regard and express her sexuality. I argue both that Kant has a rich account of virtue, and that a virtuous Kantian agent should view her sexuality as a good thing–as an important aspect of her animal nature. On my view, the virtuous agent does not seek to suppress her sexuality, but rather to find modes and contexts for its expression that allow the agent to maintain her self-respect and to avoid degrading (...) others. The paper begins by considering reasons, grounded in Kant’s texts, why one might reasonably think that Kant has a pejorative view of sexuality, and only the thinnest account of virtue, to offer. I then aim to correct this picture by more carefully and fully exploring Kant’s work, putting his apparently negative comments about sex, and apparently narrow account of virtue, in their proper context. I also dispute—based on Kant’s own principles—some of Kant’s claims about homosexual sex and masturbation as violations of duties to oneself as an animal and moral being. Finally, I conclude the paper with an account of the virtuous Kantian agent’s proper attitude toward her sexuality. (shrink)

Papers from a seminar held in Paris, Sept. 1995, organized by the International Union of Physiological Sciences and UNESCO.