Over the course of an illustrious career, the late Bernard Diamond established himself as the preeminent forensic psychiatrist of the century. _The Psychiatrist in the Courtroom_ brings together in a single volume Diamond's pivotal contributions to a variety of important issues, including the nature of diminished capacity, the fallacy of the impartial expert, the predictability of dangerousness, and the unacceptability of hypnotically facilitated memory in courtroom proceedings. Ably introduced and edited by Jacques M. Quen, M.D., a close colleague of (...) Diamond's and leading historian of forensic psychiatry, these writings enable experts and neophytes alike to track Diamond's evolving positions while clarifying where current legal and psychiatric opinion converge -- and diverge -- on a host of critical topics. For the forensic specialist, _The Psychiatrist in the Courtroom_ is not only an invaluable reference work but a compassionate reminder of the clinician's obligation to protect patients in legal proceedings. And in an age when clinicians are increasingly called into court, the book will be no less valuable to psychoanalysts and other mental health professionals eager for an introduction to the intricacies of judicial reasoning. Then, too, owing to Diamond's clinical acumen, the book is a compelling human document. With great erudition and deep compassion, Diamond tackles these and other knotty questions, always with an eye to clarifying the legal and clinical implications of the answers. By combining superb clinical gifts with an incisive understanding of legal principle, Diamond produced a seminal corpus whose relevance to discussions of therapeutic ethics and to legal debates will continue well into the next century. (shrink)

In his Confessions Jean-Jacques Rousseau tells the story of his life, from the formative experience of his humble childhood in Geneva, through the achievement of international fame as novelist and philosopher in Paris, to his wanderings as an exile, persecuted by governments and alienated from the world of modern civilization. In trying to explain who he was and how he came to be the object of others' admiration and abuse, Rousseau analyses with unique insight the relationship between an elusive (...) but essential inner self and the variety of social identities he was led to adopt. The book vividly illustrates the mixture of moods and motives that underlie the writing of autobiography: defiance and vulnerability, self-exploration and denial, passion, puzzlement, and detachment. Above all, Confessions is Rousseau's search, through every resource of language, to convey what he despairs of putting into words: the personal quality of one's own existence. (shrink)

This book is not concerned with the use of Freudian concepts for the interpretation of literary and artistic works. Rather, it is concerned with why this interpretation plays such an important role in demonstrating the contemporary relevance of psychoanalytic concepts. In order for Freud to use the Oedipus complex as a means for the interpretation of texts, it was necessary first of all for a particular notion of Oedipus, belonging to the Romantic reinvention of Greek antiquity, to have produced a (...) certain idea of the power of that thought which does not think, and the power of that speech which remains silent. From this it does not follow that the Freudian unconscious was already prefigured by the aesthetic unconscious. Freud's 'aesthetic' analyses reveal instead a tension between the two forms of unconscious. In this concise and brilliant text Rancière brings out this tension and shows us what is at stake in this confrontation. (shrink)

Psycho-physical origins.-- Spatial nothingness.-- The origin of space.-- Moral facts and origins.-- Psycho-physical relationship.-- Morality and moral ideals.-- The economic solution.-- Principles of psychotherapy.

Réflexion sur la philosophie et les lettres qui tente de répondre à la question : qu'est-ce que penser pour un homme dont l'expérience vécue est la source de l'écriture?

This book asks the question, how could we convince or compel modern business to apply ethical standards and is it essential to the success of economy? In order to answer the question, this book examines the evolution of the activist business ethics in business, in democracies, Christianity, Judaism, Islam, Buddhism, in philosophy, psychology and psychoanalysis. The book examines international aspects, the personification of stakeholders, the predominance of values and ethics for CEOs and the inefficient safeguards of the stakeholders’ interests.

Divided beauty (Dresden, 1764) -- Little gods of the street (Munich-Berlin, 1828) -- Plebeian heaven (Paris, 1830) -- The poet of the new world (Boston, 1841-New York, 1855) -- The gymnasts of the impossible (Paris, 1879) -- The dance of light (Paris, Folies Bergère, 1893) -- The immobile theatre (Paris 1894-95) -- Decorative art as social art: temple, house, factory (Paris-London-Berlin) -- Master of surfaces (Paris, 1902) -- The temple staircase (Moscow-Dresden, 1912) -- The machine and its shadow (Hollywood, 1916) (...) -- The majesty of the moment (New York, 1921) -- Seeing things through things (Moscow, 1926) -- The cruel radiance of what is (Hale County, 1936-New York, 1941). (shrink)

This book begins with Derrida's text, based on a lecture he gave in Montreal and is followed by two texts commenting on it. Derrida gives one of his most precise developments on the notion of 'l'événement' (event), that which comes to disturb the course of history and thus escapes the normal ways of being told and understood. His thought on the topic is crucial for future research on literature as testimony, refering to abnormal conditions of experience whose nature exceeds usual (...) narrative norms. This work is on two components of European culture : French West Indian and Black British literature (memory of slavery) and Spanish literature (civil war and refugees camps). Ce volume prolonge les réflexions du séminaire tenu à Montréal, articulé autour de la question " Dire l'événement, est-ce possible ? ". Les contributions de Gad Soussana ("De l'événement depuis la nuit" suivi de "Arriver") et d'Alexis Nouss ("Parole sans voix") tentent d'en prendre la mesure à partir des problématiques de l'origine et du posthume. Mais l'essentiel, en elles, aura été de susciter la réponse de Jacques Derrida : " Une certaine possibilité impossible de dire l'événement ". Plus qu'une simple rencontre, ce séminaire explicite la présence d'une pensée de l'événement au cœur de l'œuvre littéraire et de l'œuvre philosophique. (shrink)

L'une des tâches séculaires de la philosophie est de surmonter ce que Locke nommait l'abus des mots; le dictionnaire des ntions s'efforce de l'accomplir en présentant une technologie des réseaux sémantiques.

Les Doctrines littéraires de l'Encyclopédie, ou le Romantisme des encyclopédistes / par J. Rocafort,... Date de l'édition originale: 1890 Le présent ouvrage s'inscrit dans une politique de conservation patrimoniale des ouvrages de la littérature Française mise en place avec la BNF. HACHETTE LIVRE et la BNF proposent ainsi un catalogue de titres indisponibles, la BNF ayant numérisé ces oeuvres et HACHETTE LIVRE les imprimant à la demande. Certains de ces ouvrages reflètent des courants de pensée caractéristiques de leur époque, mais (...) qui seraient aujourd'hui jugés condamnables. Ils n'en appartiennent pas moins à l'histoire des idées en France et sont susceptibles de présenter un intérêt scientifique ou historique. Le sens de notre démarche éditoriale consiste ainsi à permettre l'accès à ces oeuvres sans pour autant que nous en cautionnions en aucune façon le contenu. Pour plus d'informations, rendez-vous sur www.hachettebnf.fr. (shrink)

La pensée de Lévinas demande à être prise au sérieux, aventure philosophique où le verset ne vaut pas preuve, et qui a toujours gardé sa route comme un marin, son cap. Aujourd'hui que l'œuvre est close, il est clair que cette navigation n'allait vers aucun port mais que, par essence hauturière, elle cingla droit, là où les mers étaient vastes et les vents, forts. Là, une haute vague se leva : Autrement qu'être ou au-delà de l'essence. Ce titre, où un (...) adverbe pointe démesurément au-delà du verbe, dresse le livre au-delà de son propre contexte. Mais il permet de rassembler toute l'œuvre dans le sillage de sa course, et donne une vue sur la philosophie du siècle, et celle qui nous fut transmise. Prendre cette pensée au sérieux, c'est d'abord faire le pari de la neutralité, ne pas y chercher une morale mais l'accompagner dans sa quête du sens éthique comme intelligibilité ultime de l'humain et possibilité de la compréhension de l'être. Adjectif substantivé (au neutre, das Ethische) avant que substantif (die Ethik), l'éthique se formule en se cristallisant autour de certains vocables (Je, Tu, Il, Es - sujet, autrui, Dieu, être) qu'elle compose, comme un poème ou, mieux, une partition. Accompagner cette pensée, c'est seulement dérouler l'intrigue que tissent - " Ensemble, mais pas encore " - ces mots obéissant à leur loi. C'est dire le sonnet ou interpréter la sonate. On suit alors le mouvement an-archique d'une pensée qui, au profond du sujet, discerne une brûlure, nécessaire pour qu'autrui ne soit pas loup pour un loup. Ce ravage, seule la grâce improbable d'un Dieu qui s'absente s'offre à le réparer, concédant ainsi à l'homme d'être. J. R. (shrink)

In 1949, the photographer Lucien Hervé took a picture of an innovative apartment building in Marseille, France, and sent it to the building's architect, Le Corbusier. Le Corbusier responded by asking Hervé to become his official photographer. This book recounts the creative collaboration between these two groundbreaking Modernists. The author takes the reader on a tour of sixteen of Le Corbusier's most iconic buildings using Hervé's edited sheets of contact prints as visual guides. These sheets, which became an effective tool (...) in the collaborative dissemination of Le Corbusier's work, capture Hervé's dynamic perspectives and dramatic use of light. His sequencing of the individual prints creates an exhilarating rhythm that powerfully showcases the architect's novel forms and materials. (shrink)

It is frequently said that we are living through the end of politics, the end of social upheavals, the end of utopian folly. Consensual realism is the order of the day. But political realists, remarks Jacques Ranciere, are always several steps behind reality, and the only thing which may come to an end with their dominance is democracy. 'We could', he suggests, 'merely smile at the duplicity of the conclusion/suppression of politics which is simultaneously a suppression/conclusion of philosophy.' This (...) is precisely the task which Ranciere undertakes in these subtle and perceptive essays. He argues persuasively that since Plato and Aristotle politics has always constructed itself as the art of ending politics, that realism is itself utopian, and that what has succeeded the polemical forms of class struggle is not the wisdom of a new millennium but the return of old fears, criminality and chaos. Whether he is discussing the confrontation between Mitterrand and Chirac, French working-class discourse after the 1830 revolution, or the ideology of recent student mobilizations, his aim is to restore philosophy to politics and give politics back its original and necessary meaning: the organization of dissent. (shrink)