He occasionally made photographs until his death in poverty there in 1884, leaving behind some of the most dazzling photographic images of his era.".

Les mathématiques sont bien plus qu’une science, tant elles ont acquis un statut central et tout à fait particulier. Elles sont à la fois un langage permettant d’articuler la réalité et un outil qui façonne le réel, et jouent à ce titre un rôle clé dans le développement des sciences de la nature, des sciences humaines et sociales, et de l’industrie. Leur position centrale dans les mécanismes de sélection et de reproduction qui caractérisent l’enseignement en France en fait par ailleurs (...) un enjeu social majeur. L’essence des mathématiques, c’est la liberté, disait Georg Cantor. Quelles sont les nouvelles frontières, les nouveaux défis de cette science qui ne s’impose aucune limite? Comment cette science de l’abstraction s’inscrit-elle au cœur de la réalité, au point d’être incontournable? Quel rôle, quelle place, quelle responsabilité s’assignent les mathématiciens? Deux mathématiciens, Pierre Cartier qui fut l’un des piliers du fameux groupe Bourbaki et Cédric Villani, un des représentants les plus brillants de sa génération (médaille Fields en 2010), le mathématicien et historien des sciences Jean Dhombres, et le philosophe des sciences Gerhard Heinzmann nous invitent à débattre avec eux de l’activité mathématique et de ses conséquences sociales, tant dans l’histoire de l’humanité que dans le monde contemporain. (shrink)

This article proceeds to describe in detail the expression forms (“Formes de l’expression”) particular to two photographs by Henri Cartier-Bresson. The investigation of the specificities of the plastic dimension of these photographs leads us to discover some of the formal features liable to raise photographic language to the level of artistic composition. We thereby demonstrate how Photography may take on astonishingly deep and complex sensations and significations.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art (...) being a case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

Résumé Tout semble exclure le « corps amoureux » de l’univers froid et désincarné du cinéaste Robert Bresson (1901-1999). Une analyse attentive révèle toutefois la présence dans son œuvre d’une érotique singulière. Grâce au contrôle absolu de ses acteurs, qu’il appelle ses « modèles », le réalisateur invente un corps amoureux « cinématographiquement parlant ». Ses personnages, avec leur phrasé neutre et automatique, nouent en effet une relation fusionnelle avec la caméra : se donnerait ainsi à entendre, grâce à (...) une esthétique attentive à ses caractéristiques intimes, la voix de cette miraculeuse machine que reste le cinématographe. (shrink)

Promettant à la fois la capture de l’instant et son dépassement vers l’intemporel, le medium photographique voit son destin intimement lié à la catégorie du temps. L’article suggère cependant que cette inclusion du temps dans l’image s’est acquise, au cours de l’histoire de la photographie, au prix d’une essentialisation du momentané. À rebours d’une telle approche, il s’agit de repenser l’instantané photographique comme découlant de l’accident, si bien que la photo figure non plus l’instant fécond, mais bien le temps de (...) l’accident, qui correspond, dans tous les sens du terme, à un arrêt de mort. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that (...) motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

Emmet Gowin à la fondation Henri Cartier-Bresson (14 mai-27 juillet 2014) / Lewis Baltz au Bal (23 mai-24 août 2014) Depuis quelques semaines, les Parisiens ont la chance de pouvoir découvrir deux figures légendaires de la photographie américaine contemporaine, deux géants incontournables et pourtant peu exposés en France jusque-là : Lewis Baltz, au Bal, et Emmet Gowin à la fondation Henri Cartier-Bresson. De la même génération (ils sont nés dans les années 1940), ces deux artistes ont (...) en commun (...) - Arts plastiques et autres – GALERIE – Nouvel article. (shrink)

The first art of photography best aligns with the production of photographers like Henri Cartier‐Bresson, Edward Weston, Andre Kertesz, and Diane Arbus. Modernism is the moniker that tends to be applied to these photographers and their peers in retrospect, usually by art historians, especially in connection with the writings of John Szarkowski. As curator of photography at the Museum of Modern Art in New York from the 1960s through the 1980s, Szarkowski commanded attention and used it to lead (...) the cheer for modernist photography. A recurring theme of photography writing is that looking at photographs enables one to experience bits of the world that are distant in time or space‐the past or the far away. Confidence in the epistemic power of photography amplifies the revelation: what is revealed is reality, not an artist's fancy or a side effect of the mechanical imaging process. (shrink)

From Detroit Red to El-Hajj Malik El-Shabazz, the man best known as Malcolm X restlessly redefined himself throughout a controversial life. His transformations have appeared repeatedly in books, photographs, paintings, and films, while his murder set in motion a series of tugs-of-war among journalists, biographers, artists, and his ideological champions over the interpretation of his cultural meaning. This book marks the first systematic examination of the images generated by this iconic cultural figure--images readily found on everything from T-shirts and hip-hop (...) album covers to coffee mugs. Graeme Abernethy captures both the multiplicity and global import of a person who has been framed as both villain and hero, cast by mainstream media during his lifetime as "the most feared man in American history," and elevated at his death as a heroic emblem of African American identity. As Abernethy shows, the resulting iconography of Malcolm X has shifted as profoundly as the American racial landscape itself. Abernethy explores Malcolm's visual prominence in the eras of civil rights, Black Power, and hip-hop. He analyzes this enigmatic figure's representation across a variety of media from 1960s magazines to urban murals, tracking the evolution of Malcolm's iconography from his autobiography and its radical milieu through the appearance of Spike Lee's 1992 biopic and beyond. Its remarkable gallery of illustrations includes reproductions of iconic photographs by Richard Avedon, Eve Arnold, Gordon Parks, Henri Cartier-Bresson, and John Launois. Abernethy reveals that Malcolm X himself was keenly aware of the power of imagery to redefine identity and worked tirelessly to shape how he was represented to the public. His theoretical grasp of what he termed "the science of imagery" enabled him both to analyze the role of representation in ideological control as well as to exploit his own image in the interests of black empowerment. This provocative work marks a startling shift from the biographical focus that has dominated Malcolm X studies, providing an up-to-date--and comprehensively illustrated--account of Malcolm's cultural afterlife, and addressing his iconography in relation to images of other major African American figures, including Martin Luther King, Jr., Angela Davis, Kanye West, and Barack Obama. Analyzing the competing interpretations behind so many images, Abernethy reveals what our lasting obsession with Malcolm X says about American culture over the last five decades. (shrink)

A staff photographer for the Ketchikan Daily News, Hall Anderson counted among his early influences photographers like Robert Frank and Henri Cartier-Bresson, who understood the visual bounty to be found in photographing the candid side of life. For more than twenty-five years, Anderson has brought this perspective to his photographic endeavors, both personal and professional, in the small town of Ketchikan in southeast Alaska. Still Rainin' Still Dreamin' showcases one hundred of Anderson's prize-winning black-and-white images, which collectively chronicle (...) three decades of life in Ketchikan, spanning its transition from a timber- and fishing-based economy to one built on a booming tourism industry. From timber carnivals to election coverage to Fourth of July parades, Still Rainin' Still Dreamin' is a poignant celebration of the uncanny juxtapositions found in everyday life. (shrink)

The ubiquity of camera phones today has made us all photographers, and as these nano-devices attest, the history of photography, perhaps more so than any other art, is also a history of technology, one best revealed in the very vehicle that makes it possible—the camera. Through brief, illustrated chapters on fifty landmark cameras and the photographers who used them, Michael Pritchard offers an entertaining look at photography as practiced by professionals, artists, and amateurs. A History of Photography in Fifty Cameras (...) is organized chronologically, beginning with William Henry Fox Talbot’s wooden “Mousetrap” camera of 1835. Other entries include the Brownie, the Coronet Midget, the Kodak Instamatic 100, and, of course, the Polaroid SX-70. Photographs within each chapter show not only the cameras themselves but also samples of the images made with them. Pritchard uses each camera as a point of entry for talking about the people who used them and the kind of photos they produced, from Weegee and his Speed Graphic to Cartier-Bresson and the Leica’s role in the invention of photojournalism. In the hands of individual photographers, he reveals, cameras came to represent unique styles of depiction. Together, the stories of the fifty cameras gathered here present an approachable and informative take on a medium that continues to fire the imagination, whether we’re perfecting the selfie or longing for the days of Fotomat. (shrink)

This retrospective of photographs spans a period of forty years. Each photograph, each act of photographing, has been an attempt to stop time, to capture what is happening in the moment, and to preserve the moment for posterity. The photographer frames the subject and gives witness to an order in the universe. But the photographer knows that, as Henri Cartier-Bresson has reminded us, nothing can really bring back the moment of things fixed in the photograph. And nothing can (...) bring back that moment in the life of the photographer. In the wisdom of Buddhism, “all things are impermanent.” Photographs are a reminder of the impermanence of all things. But what the photographer once saw and caught on film may be given another life when others see the photographs. For the photographer, the act of photographing has been an intimate part of the process of living a life. This body of work, accompanied by journal notes, is a record of what the photographer once saw, and is a window to the life once lived. (shrink)

He tells us the inside stories behind dozens of famous pictures like these, which are reproduced in this book, and provides intimate and revealing portraits of the men and women who shot them, including Robert Capa, Henri Cartier-Bresson, ...

Key writings by artists and theorists chart the shifting relationship between film and photography and how the rise of cinema forced photography to make a virtue of its stillness. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; (...) photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism. Still photography—cinema's ghostly parent—was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on—including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David—documenting the photography-film dialogue that has enriched both media. (shrink)

From the earliest silver-chloride calotypes of inventor of photography William Henry Fox-Talbot to developments in digital photography and the tiny but surprisingly capable cameras that are a component of every smartphone today, photography has changed dramatically over the past 150 years. As technology has advanced, so too has photography as a living, dynamic art form, as evidenced by the innovative techniques and compositions of contemporary photographic artists. Drawing on a diverse collection of historical and contemporary photographs held by Bank Austria (...) and on display at the Museum der Moderne Salzburg, Focus on Photography provides a rich visual record of the history of photography. The photographs reproduced here date from the 1840s to the 1970s and include works by Julia Margaret Cameron, Lewis Carroll, André Kertész, Josef Sudek, Eadweard Muybridge, Alexander Rodchenko, Lászlo Moholy-Nagy, Man Ray, Henri Cartier-Bresson, Diane Arbus, and Arnulf Rainer, among others, and range from landscapes and portraits to cutting-edge modern compositions. Together, they offer readers a series of invaluable reference points for thinking about of the important trends and developments throughout the history of photography. A stunning, kaleidoscopic portfolio featuring nearly two centuries of photographic art with representation from among many major movements and figures, Focus on Photography will be welcomed by all with an interest in this powerful medium. (shrink)

The role of chance in producing a picture by snapping a shutter release before a complex and quickly changing scene weakens the bond between the historic action photograph and the meanings it is routinely asked to bear. To appreciate this problem and to understand the array of popular notions that have been marshaled to finesse or suppress the role of chance in photographic production, I consider the case of Joe Rosenthal’s 1945 photograph of American servicemen raising a flag on Iwo (...) Jima. The analysis pushes the production of this famous photograph through a series of zoological analogies: Is it like a fisherman reeling in a trophy catch? Like a cat pouncing on a mouse or a spider setting a trap for a fly? Like a pig pushing its snout through the dirt? Like chimpanzees banging at typewriters? These analogies are playful but also serious. We need new models for understanding the production of the historic action photograph because the predominant modern and postmodern approaches to that production have suppressed the role of chance. Whereas the modern regime tends to understand the historic action photograph as an inspired flash of history, the postmodern regime tends to understand it as a discursive effect. Entertaining the notion that such a photograph is instead a stochastic result leads to a new conception of photography and its relationship to history. Chance emerges as a third kind of photographic madness, alongside the industrial madness decried by Charles Baudelaire and the indexical madness that moved Roland Barthes. (shrink)

It is a commonplace that emotions are characteristically passive. As we ordinarily think of them, emotions are ways in which we are acted upon, that is, moved or affected by aspects of our environment. Moreover, we have no voluntary control over whether we feel them. In this paper, I call attention to a much-neglected respect in which emotions are active, which is no less central to our pretheoretical concept of them. That is, in having emotions, we are engaged with the (...) world insofar as we respond to aspects of our environment. In this context, to say that an emotion is a response to x is tantamount to saying that x is a reason for which we have it. Elaborating this claim in light of a historically prominent conception of the active/passive distinction, I will argue that emotions are a form of spontaneity in virtue of their responsive character and contrast in this respect with perceptions, which are fundamentally receptive. While this proposal is prima facie opposed to the ordinary image of emotions as passive, I will show that it actually allows us to make proper sense of it. (shrink)

Over thirty years after Maurice Blanchot writes The Unavowable Community--a book outlining a critical response to Jean-Luc Nancy's early proposal for thinking an "inoperative community"--The Disavowed Community offers a close reading of Blanchot's text.

Theory from the south -- On personhood : a perspective from Africa -- Liberalism, policulturalism, and ideology : thoughts on citizenship and difference -- Nations with/out borders : the brave neo world and the problem of belonging -- Postcolonial politics and discourses of democracy : an anthropological take on African political modernities -- History on trial : memory, evidence, and the forensic production of the past -- Alien-nation : zombies, immigrants, and millennial capitalism -- Beyond bare life : AIDS, (bio)politics, (...) and the neo world order. (shrink)

The poor performances of typically developing children younger than 4 in the first-order false-belief task “Maxi and the chocolate” is analyzed from the perspective of conversational pragmatics. An ambiguous question asked by an adult experimenter (perceived as a teacher) can receive different interpretations based on a search for relevance, by which children according to their age attribute different intentions to the questioner, within the limits of their own meta-cognitive knowledge. The adult experimenter tells the child the following story of object-transfer: (...) “Maxi puts his chocolate into the green cupboard before going out to play. In his absence, his mother moves the chocolate from the green cupboard to the blue one.” The child must then predict where Maxi will pick up the chocolate when he returns. To the child, the question from an adult (a knowledgeable person) may seem surprising and can be understood as a question of his own knowledge of the world, rather than on Maxi's mental representations. In our study, without any modification of the initial task, we disambiguate the context of the question by (1) replacing the adult experimenter with a humanoid robot presented as “ignorant” and “slow” but trying to learn and (2) placing the child in the role of a “mentor” (the knowledgeable person). Sixty-two typical children of 3 years-old completed the first-order false belief task “Maxi and the chocolate,” either with a human or with a robot. Results revealed a significantly higher success rate in the robot condition than in the human condition. Thus, young children seem to fail because of the pragmatic difficulty of the first-order task, which causes a difference of interpretation between the young child and the experimenter. (shrink)

On the one hand, freedom is said to be the property of a subject. On the other, freedom only happens in the space of being-in-common. Freedom, then, is the place of a conflict between the “self” and the “with,” between independence or autonomy and dependence or sharing. Resolving this apparent antinomy requires showing how the with ontologically constitutes the self. This, in turn, allows for a rethinking of freedom beyond what liberal democracy and political economy have to offer, as the (...) renewed opening of existence onto nothing, or onto an “outside” that the opening itself constitutes. (shrink)

This paper presents the result of researching the mythical conceptions of history in the West, which shed light on numerous cultural and political data that entered the sphere of the imaginary reflected in religions, utopias, and finally, in art. The study is structured in three parts, namely: the three scenarios of universal history; the significant myths of great narratives; the problems of the myth of unique time. These aspects bring into question and demonstrate the importance of the imaginary for the (...) understanding of cosmological and anthropological time. (shrink)

In this paper I propose to continue the analysis of the appeal to authority begun at the last OSSA conference. I proceed by examining the well-documented use of the appeal made by the ancient Roman advocate, Cicero. The fact that Cicero expressed his opinion was expectably sufficient to give his auditors--responsible citizens all--reason to do as he desired. But why? The resolution of this puzzle points to a strong sense in which arguments can be called rhetorical , for the rational (...) force of Cicero's authority depends necessarily on what he says. (shrink)

The imaginary has been inseparable, since prehistoric times, from technical artefacs, their forms, functions and uses. Gilbert Durand’s typologies can help to understand better the different technologies, their success, their effects, etc. Can we not go further by looking in the imaginary for one of the keys to technological innovation today which would allow an anthropological renovation of theoretical tools?

L’intelligence des pratiques sociales passe généralement par des catégories binaires, qui découpent le réel en moitiés égales ou inégales, mais qui prétendent épouser une totalité de comportements ou de vécus. Ces binômes classiques ont pourtant servi autant de leviers que d’obstacles épistémologiques. Le profane et le sacré, le privé et le public, le travail et la fête, le...

This article challenges a series of assumptions associated with abstract painting, arguing that this type of art makes one understand a visual manifestation which does no longer refer to the visible world only, but also to an intelligible world, accessible to the senses. Non-figurative painting abandons the reproduction of the visible, in order to present us with the invisible, and in order to account for this phenomenon the author elaborates three types of philosophical decision to interpret the mode of being (...) of the image. The comprehension of this original experience of abstract art is then compared to the relations between the visible and the invisible, as Christian theology delineates them. Christianity is defined first by the experience of the figuration of God, by His embodiment, which actually enables one to conceive of certain images, such as the icon of the Orthodox liturgy, but at the same time it also bestows, for the first time, an incredible status to the disappearance of the visible divine body, when it returns to the invisible, while remaining present in the visible. (shrink)

In Being and Nothingness (1943), Sartre explains love as a strategy for achieving control over "being-for-others," the objectified aspect of the self-imposed by others' defining looks. Two contemporaneous fictions by Sartre, The Room (1939) and Dirty Hands (1948), expand the notions of love and of being-for-others in surprising directions. Dirty Hands shows the creative, productive potential of being-for-others: Hugo's reliance on the other for his self-definition paradoxically generates his decisive embrace of being for-itself. The Room dramatizes the role of the (...) family in constituting a child's subjectivity: Eve's family situation explains her ontological imprisonment in the dimension of being-for-others. The two stories' tolerant vision of the complex social and psychological reasons for adopting being-for-others as one's dominant modality contrasts with Sartre's rigorous critique of reliance on being-for-others as a form of bad faith in Being and Nothingness. The fictions' enlarged perspective on human love and on being-for-others provides a framework for complicating and critiquing the ontological categories presented in Being and Nothingness. (shrink)

For Ockham and Wittgenstein the analysis of knowledge is based on language. Both authors uphold the conception of the world from a logical-philosophical dimension configured by the close thought-language relationship. This construct is developed on the basis of the following three aspects: first, concepts are signs of things; second, propositions describe “state of affairs”; and third, knowledge in terms of “habits” is expressed in propositions structured in terms of the “uses” of language. These propositions are established by the thought considered (...) as “activity” and “operation of signs”. By analyzing certain a priori propositions, we recognize the very boundaries of the thought-language relationship, wherein the existential problems of mankind are revealed, whether out of the human tendency of explaining the world as a whole or out of the human attitude in the face of it. (shrink)

Tests for hereditary predispositions to breast and ovarian cancer have figured among the first medical applications of the new knowledge gleaned from the Human Genome Project. These applications have set off heated debates on general issues such as intellectual property rights. The genetic diagnosis of breast cancer risks, and the management of women “at risk” has nevertheless developed following highly localized paths. There are major differences in the organization of testing, uses of genetic tests, and the follow up of patients. (...) This article studies testing practices and ways of managing breast cancer risk in France and compares them with those in the United States and United Kingdom. It shows how the complex interaction between global and local factors shapes the multiple meanings assumed by the phrase cancer risk. (shrink)

La méthode psychoprophylactique d’accouchement sans douleur se développe en URSS dans un contexte stalinien sur les principes de la médecine pavlovienne, définie officiellement lors de la « session pavlovienne » de 1950. En France, c’est la figure de Fernand Lamaze qui est associée à la promotion de l’accouchement sans douleur, après qu’il ait importé la MPP d’Union soviétique l’année suivante. D’abord soutenue par les organisations marxistes et le mouvement d’émancipation des femmes, elle sera ensuite contestée sous l’effet des transformations dans (...) la gestion médicale de l’accouchement et des rivalités politiques de la guerre froide. L’article interroge les origines historiques, épistémologiques et politiques de la médecine pavlovienne. Il compare la réception du pavlovisme à l’Ouest et à l’Est en suivant le fil de l’histoire de l’accouchement sans douleur et les enjeux en France et en URSS d’une controverse dans laquelle médecine et politique s’entremêlent. (shrink)