A cursory review of the philosophy of sport readily reveals that it is dominated by Anglo-Saxon analytical philosophical milieux, in the departments of philosophy and kinesiology, the centers of bioethics, and the faculties of health around the world. In France, however, with the exception of a few researchers working in the philosophy or sport, and within an analytical paradigm, the development of the subject has gone almost unnoticed. By contrast, the discipline of history of sport clearly moved away from philosophy (...) in France with the establishment of a separate field of study based on the Anglo-Saxon model from the work pioneer of Pierre Arnaud developed by Thierry Terret and other sports historians. Nevertheless, in French universities, faculties of philosophy have not been open to research in the philosophy of the body. The philosophy of sport is not taught as such in French Universities even if our generation pursues ways opened by Jacques Ulmann, Bernard Jeu, Bernard Guillemain, Michel Bernard, Jean-Michel Berthelot, Gilbert Andrieu, Bertrand During, André Rauch, Marie-Hélène Brousse, Françoise Labridy, and Georges Vigarello, among others, through their reflections on the philosophy of the body. This article discusses the influence of some of these authors, and especially of Georges Gusdorf, Michel Foucault, and Georges Snyders on the nature and prospects for the philosophy of sport in France. (shrink)

C'est par ce titre que Bernard Lepetit, alors secrétaire des Annales, annonçait dans le n° 48-4 de la revue (juillet-août 1993, pp. 997-998) l'ensemble de quatre notes critiques consacrées à l'Histoire des femmes en Occident, dirigée par Georges Duby et Michelle Perrot (Paris, Plon, 1991). Et c'est à cet ensemble que fait référence le texte « Ouverture » du n° 1 de la revue CLIO, Histoire, Femmes et Sociétés (1995, pp. 5-8), lorsqu'est évoquée l'attitude d'un certain nombre de (...) publications d'... (shrink)

This article is a review of the literature on the subject of how nurses who provide palliative care are affected by ethical issues. Few publications focus directly on the moral experience of palliative care nurses, so the review was expanded to include the moral problems experienced by nurses in the care of the terminally ill patients. The concepts are first defined, and then the moral attitudes of nurses, the threats to their moral integrity, the moral problems that are perceived by (...) nurses, and the emotional consequences of these moral problems are considered in turn. The results show that the moral behaviour of nurses, which is theoretically grounded in commitment to care and to the patient, appears to be shaped by specific processes that lead to engagement or to mental and behavioural disengagement in morally difficult situations. Nurses often appear to fail to recognize the moral dimensions of the problems they experience and also to lack the skills they need to resolve moral problems adequately. Although the findings show that several elements that are beyond the control of nurses, owing to their lack of autonomy and authority, influence their moral experience, intrinsic factors such as feelings of insecurity and powerlessness have a profound effect on nurses’ perceptions and attitudes in the face of moral problems. The moral problems perceived by these nurses are related to end-of-life issues, communication with patients, the suffering of patients, and the appropriateness of the medical treatment. (shrink)

This 2000 text applies modern advances in game theory to the analysis of competition policy and develops some of the theoretical and policy concerns associated with the pioneering work of Louis Phlips. Containing contributions by leading scholars from Europe and North America, this book observes a common theme in the relationship between the regulatory regime and market structure. Since the inception of the new industrial organization, economists have developed a better understanding of how real-world markets operate. These results have particular (...) relevance to the design and application of anti-trust policy. Analyses indicate that picking the most competitive framework in the short run may be detrimental to competition and welfare in the long run, concentrating the attention of policy makers on the impact on the long-run market structure. This book provides essential reading for graduate students of industrial and managerial economics as well as researchers and policy makers. (shrink)

1. La philosophie et les mythes.--2. Les fondements de la psychologie.

This paper examines the work of Nāgārjuna as interpreted by later Madhyamaka tradition, including the Tibetan Buddhist Tsongkhapa (1357–1419). It situates Madhyamaka skepticism in the context of Buddhist philosophy, Indian philosophy more generally, and Western equivalents. Find it broadly akin to Pyrrhonism, it argues that Madhyamaka skepticism still differs from its Greek equivalents in fundamental methodologies. Focusing on key hermeneutical principles like the two truths and those motivating the Svātantrika/Prāsaṅgika schism (i.e., whether followers of Nāgārjuna should offer positive arguments or (...) should proceed on a purely “negative” basis), it argues that the Svātantrika commitment to mere conventional practice is robust and allows for a skepticism consistent with the scientific practices we must take seriously in the modern world. These findings are put forth as an illustration of what the Western tradition might gain by better understanding of non-Western philosophy. (shrink)

This essay critiques the standard characterization of mindfulness as present-centred non-judgmental awareness, arguing that this account misses some of the central features of mindfulness as described by classical Buddhist accounts, which present mindfulness as being relevant to the past as well as to the present. I show that for these sources the central feature of mindfulness is not its present focus but its capacity to hold its object and thus allow for sustained attention, regardless of whether the object is present (...) or not. I further show that for these sources mindfulness can be explicitly evaluative, thus demonstrating the degree to which classical Buddhist accounts differ from the modern description of mindfulness as non-judgmental. I conclude that although this modern description may be useful as an operational definition intended for practical instruction, it does not provide an adequate basis for a theoretical analysis of mindfulness, for it fails to emphasize its retentive nature to privilege its alleged nonconceptuality. (shrink)

Dreyfus examines the central ideas of Dharmakīrti, one of the most important Indian Buddhist philosophers, and their reception among Tibetan thinkers. During the golden age of ancient Indian civilization, Dharmakīrti articulated and defended Buddhist philosophical principles. He did so more systematically than anyone before his time (the seventh century CE) and was followed by a rich tradition of profound thinkers in India and Tibet. This work presents a detailed picture of this Buddhist tradition and its relevance to the history (...) of human ideas. Its perspective is mostly philosophical, but it also uses historical considerations as they relate to the evolution of ideas. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in (...) which a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

In this important new book, Jacques Derrida talks with Bernard Stiegler about the effect of teletechnologies on our philosophical and political moment. Improvising before a camera, the two philosophers are confronted by the very technologies they discuss and so are forced to address all the more directly the urgent questions that they raise. What does it mean to speak of the present in a situation of "live" recording? How can we respond, responsibly, to a question when we know (...) that the so-called "natural" conditions of expression, discussion, reflection, and deliberation have been breached? As Derrida and Stiegler discuss the role of teletechnologies in modern society, the political implications of Derrida's thought become apparent. Drawing on recent events in Europe, Derrida and Stiegler explore the impact of television and the internet on our understanding of the state, its borders and citizenship. Their discussion examines the relationship between the juridical and the technical, and it shows how new technologies for manipulating and transmitting images have influenced our notions of democracy, history and the body. The book opens with a shorter interview with Derrida on the news media, and closes with a provocative essay by Stiegler on the epistemology of digital photography. In Echographies of Television, Derrida and Stiegler open up questions that are of key social and political importance. Their book will be of great interest to all those already familiar with Derrida's work, as well as to students and scholars of philosophy, literature, sociology and media studies. (shrink)

This chapter examines Indian views of the mind and consciousness, with particular focus on the Indian Buddhist tradition. To contextualize Buddhist views of the mind, we first provide a brief presentation of some of the most important Hindu views, particularly those of the S¯am . khya school. Whereas..

Le chez-soi a toujours été travaillé par l'autre, et par l'hôte, et par la menace de l'expropriation. Il ne s'est constitué qu'à l'ombre de cette menace. Néanmoins, on assiste aujourd'hui à une expropriation nouvelle, à une déterritorialisation, à une délocalisation, une dissociation si radicales du politique et du local, du national, de l'Etat-national et du local, que la réponse, il faudrait dire la réaction, cela devient - je veux être chez moi, je veux être chez moi, je veux être chez (...) moi enfin, avec les miens, auprès de mes proches. Cela n'est même pas une réponse d'ailleurs, ce n'est pas une réactivité secondaire qui vient en quelque sorte compenser, réagir après-coup, non, c'est le même mouvement. Il appartient à la constitution du propre et relève de cette loi d'ex-appropriation dont je parlais plus haut - pas d'appropriation sans possibilité d'expropriation, sans la confirmation de cette possibilité. Prenons l'exemple de la télévision. La télévision introduit dans le chez-moi l'ailleurs, et le mondial, à chaque instant. Je suis plus isolé, plus privatisé que jamais, avec chez moi l'intrusion en permanence, par moi désirée, de l'autre, de l'étranger, du lointain, de l'autre langue. (shrink)

The doctrine of the two truths - a conventional truth and an ultimate truth - is central to Buddhist metaphysics and epistemology. The two truths (or two realities), the distinction between them, and the relation between them is understood variously in different Buddhist schools; it is of special importance to the Madhyamaka school. One theory is articulated with particular force by Nagarjuna (2nd ct CE) who famously claims that the two truths are identical to one another and yet distinct. One (...) of the most influential interpretations of Nagarjuna's difficult doctrine derives from the commentary of Candrakirti (6th ct CE). In view of its special soteriological role, much attention has been devoted to explaining the nature of the ultimate truth; less, however, has been paid to understanding the nature of conventional truth, which is often described as "deceptive," "illusion," or "truth for fools." But because of the close relation between the two truths in Madhyamaka, conventional truth also demands analysis. Moonshadows, the product of years of collaboration by ten cowherds engaged in Philosophy and Buddhist Studies, provides this analysis. The book asks, "what is true about conventional truth?" and "what are the implications of an understanding of conventional truth for our lives?" Moonshadows begins with a philosophical exploration of classical Indian and Tibetan texts articulating Candrakati's view, and uses this textual exploration as a basis for a more systematic philosophical consideration of the issues raised by his account. (shrink)

Le christianisme est-il en train de s’éteindre, comme le répètent les oracles de la décadence? Une quinzaine de chrétiens ont accepté de se livrer à une opération vérité. Ils ont décidé de prendre le temps et la plume pour livrer un témoignage de leur foi chrétienne, une attestation approfondie et critique des « raisons » qu’ils ont de croire.

The First American edition of a British best-seller In The Principle of Duty.

Mes recherches actuelles tendent ä croiser l'analyse epistemologique avec l'esthetique pour degager le röle du sujet historique dans Velaboration des savoirs universels. II s'agit, pour moi, de deplacer le point de vue transcendantal, formel, afin de renouveler la perspective epistemologique par le concept de diathese. Deux questions se posent. Quel est l'apport du sujet 1) dans le processus de structuration formelle des savoirs? (construction, deconstruction, reconstruction de la connaissance), 2) dans la transmission - transformation des savoirs? (decontextualisation et actualisation historique (...) des paradigmes successifs).En diathese, la conscience de soi - chacun, chacune d'entre nous - ne s'envisage que traversee par la conscience d'autrui. II suffit de rompre avec le solipsisme identitaire des formalismes classiques, et leur determinisme problematique, pour constater avec stupefaction que l'autre tient, en soi, la part constitutive de notre biographic- de la langue de la mere ä la langue des autres. Langue etrangere, qui est pourtant le vehicule de la connaissance de soi. D'oü mon interet pour une reconsideration ä la fois epistemologique et esthetique du cogito cartesien, place ä la fois au coup d'envoi des theories de la conscience et du renouvellement de la pensee scientifique moderne et contemporaine.Dans cette perspective, l'indice de verite des analyses et des syntheses produites par le chercheur, ne saurait prendre forme et force que dans la diathese d'une communaute de recherche, ä la fois specifique et historique. De lä, irresistiblement, le logos devient dialogos. Ce qui signifie que, d'une part, chaque conscience se voit de facto qualifiee pour participer ä l'elaboration ou ä la transmission des connaissances et que, d'autre part, pour qu'un acte de conscience individuel devienne epistemologiquement significatif, i l s'avere necessaire qu'il soit formule ä l'interieur d'une communaute de recherche. Laquelle, seule, peut ä la fois l'actualiser (et done le limiter) comme savoir historique, tout en l'universalisant comme savoir formel. Evitant ainsi le piege de l'hypostasier comme savoir absolu. Le concept de diathese ouvre done ä une epistemologie genetique, preoccupee autant de structure et de construction que d'histoire des sciences. Car ce n'est pas tant (mais aussi) la formalisation des enonces scientifiques que le degre de conscience de leur contenu conceptuel, qui determine avec le plus de rigueur le degre de verite des savoirs d'un individu au sein d'une communaute de recherche, ou d'une communaute de recherche dans l'histoire de la connaissance. (shrink)