La question du phénomène précède de beaucoup la phénoménologie, elle s'ouvre avec la philosophie et l'accompagne tout au long de son histoire. Mais ce préalable incontournable - car être veut dire apparaître - est surdéterminé par une présupposition irréfléchie. De la Grèce à Heidegger, dans les problématiques classiques de la conscience et de la représentation, dans leurs critiques, dans la phénoménologie de l'intentionnalité et dans ses prolongements, "phénomène" désigne ce qui se montre à l'intérieur d'un horizon de visihilisation, l'Ek-stase d'un (...) Dehors. La mise en cause de ce monisme ontologique établit que l'Ekstase ne subsiste que sur le Fond de son anti-essence : immanence si radicale qu'elle ne se tient jamais à distance, incapable de se voix, âme sans Idée, vie dépourvue d'archétype mais liée à soi invinciblement, s'éprouvant dans le subir, le souffrir et le jouir de son propre pathos. Parce que, avant que ne se lève le monde, une Affectivité transcendantale accomplit en nous son Archi-Révélation en même temps qu'elle engendre notre ipséité, ce sont d'autres catégories, d'autres penseurs, une nouvelle phénoménologie qui sont requis si nous voulons parvenir, enfin, à l'intelligence de ce que nous sommes. (shrink)

An examination of the relation between war and politics, by one of the twentieth century’s most influential thinkers From 1971 until 1984 at the College de France, Michel Foucault gave a series of lectures ranging freely and conversationally over the range of his research. In Society Must Be Defended , Foucault deals with the emergence in the early seventeenth century of a new understanding of war as the permanent basis of all institutions of power, a hidden presence within society (...) that could be deciphered by an historical analysis. Tracing this development, Foucault outlines the genealogy of power and knowledge that had become his dominant concern. (shrink)

“ S pace, K no w l edge and P o w e r ” , en tr ev i s t a r ea l i z a d a en 1982 y pub li cada en P aul R ab i no w , The Foucau l t R eade r , N ueva Y o r k, 1984. A quí se pub li ca de acue r do a l a ve r s i ón f r (...) ancesa, t r aduc i da por P ab l o Bli t s t e i n y Tadeo L im a. (shrink)

Le christianisme bouleverse notre conception de l'homme parce qu'il refuse la manière dont celui-ci se comprend depuis toujours à partir du monde, de sa vérité et de ses lois. Selon le christianisme, l'homme ne procède pas du monde mais de Dieu: il est son " Fils ". Or Dieu est Vie, Vie qui ne se montre en aucun monde, qui s'éprouve elle-même dans son intériorité invisible. L'autorévélation de la Vie est l'essence de Dieu. Cette épreuve de soi de la Vie (...) fonde tout Soi et tout Moi, toute individualité et tout individu - tout " homme " concevable. L'opposition de la Vérité de la Vie et de la vérité du monde permet, d'autre part, de savoir que Jésus est le Christ. Dans le monde, Jésus a l'apparence d'un homme. C'est seulement en se plaçant à l'intérieur du mouvement de la Vie qu'on peut saisir comment celle-ci génère en elle un Premier Vivant et, en lui, tout vivant possible. Ce livre ne demande donc pas si le christianisme est vrai ou faux. Il met à nu le genre de Vérité que le christianisme professe et propose aux hommes. A partir d'une phénoménologie radicale du concept de " Vie ", il donne une idée extrêmement neuve, originale et forte de la Vérité du christianisme. (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: there can be no accidental art, only deliberate and incidental art; art’s intention-dependence entails the possibility of performative failure, but not of (...) failed-art; and art’s intention-dependence is perfectly compatible with the role that luck plays in artistic creation. (shrink)

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

Le sens de la mécanique quantique doit être interrogé en revenant au plus près de l'expérience incertaine, à partir de laquelle les possibilités futures sont évaluées. L'idée même d'une pluralité de mondes est reconduite aux situations élémentaires de la vie humaine où s'opposent l'actualité collectivement reconnue et les possibilités intellectuellement envisagées.

William James published his classic work on the psychology of religion, "The Varieties of Religious Experience", in 1902. To mark the centenary, leading contemporary scholars reflect on changes in our understanding of the questions James addressed.

L'Histoire occidentale, devenue planétaire, donne aujourd'hui des signes d'épuisement. Elle semble incapable d'imaginer son avenir. Sera-t-il un crépuscule interminable, ou verra-t-il une nouvelle aurore? Depuis longtemps déjà, au-dessus de la " Terre du Soir ", le soleil des grands principes qui firent époque, décline. Sommes-nous sur le point d'entrer dans une longue " nuit du monde ", où seuls nous guideront quelques feux clignotants et nos divers écrans allumés en permanence? Les utopies sur la " fin de l'Histoire " se (...) sont successivement effondrées. -N'est-il pas également utopique d'espérer un " nouveau commencement "? En quel espace une " autre Histoire " se situerait-elle? Par delà celle de l'Etre, qui s'achèverait dans la gigantesque Machinerie technologique ; ou bien, parallèlement à son ultime époque, comme son envers ou son Histoire secrète? Le plus clair de l'interprétation heideggérienne de Nietzsche sert à poser les bases de la " métaphysique achevée ", que régit la " volonté de volonté ". Cette lecture est-elle tenable? Et, bien plus, la métaphysique en son essence est-elle oubliable, achevable? Un tel adieu est-il possible? Si l'on préfère parler ici de " fracture de l'Histoire " c'est que rien de ce qui a fait date de façon essentielle ne s'achève : les brèches de l'Histoire ne se comblent pas, mais se recomposent imperceptiblement, laissant entrevoir de l'extra-historique ou de l'inachevable. Il ne s'agit pourtant pas dans ces essais de simplement " critiquer Heidegger ", mais de réentendre ou de prolonger les questions invieillissables qu'il nous a léguées - afin d'élucider s'il se peut la lente, douloureuse et incertaine mutation de l'époque. (shrink)

Ce compte rendu a déjà paru dans la Revue d'histoire de la pharmacie, 1934, vol. 22, n° 85, p. 316-317. - Biologie – Nouvel article.

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

There is one question that any potential reader who suspects that Alfred North Whitehead (1861-1947) might be important for past, contemporary, and future philosophy inevitably raises: how should I read Whitehead? How can I make sense of this incredibly dense tissue of imaginative systematizing, spread over decades of work in disciplines so different and specialized as algebra, geometry, logic, relativistic physics and philosophy of science? Accordingly, this monograph has two main complementary objectives. The first one is to propose a set (...) of efficient hermeneutical tools to get the reader started. These straightforward tools provide answers that are highly coherent and probably the most applicable to Whitehead's entire corpus. The second objective is to illustrate how the several parts of Process and Reality are interconnected, something that all commentators have either failed to recognise or only incompletely acknowledged. (shrink)

It is commonly thought that authors can make anything whatsoever true in their fictions by artistic fiat. Harry Deutsch originally called this position the Principle of Poetic License. If true, PPL sets an important constraint on accounts of fictional truth: they must be such as to allow that, for any x, one can write a story in which it is true that x. I argue that PPL is far too strong: it requires us to abandon the law of non-contradiction and (...) entails a radical revision of otherwise ordinary commitments about truth in fiction. (shrink)

Schopenhauer’s invective is legendary among philosophers, and is unmatched in the historical canon. But these complaints are themselves worthy of careful consideration: they are rooted in Schopenhauer’s philosophy of language, which itself reflects the structure of his metaphysics. This short chapter argues that Schopenhauer’s vitriol rewards philosophical attention; not because it expresses his critical take on Fichte, Hegel, Herbart, Schelling, and Schleiermacher, but because it neatly illustrates his philosophy of language. Schopenhauer’s epithets are not merely spiteful slurs; instead, they reflect (...) deep-seated theoretical and methodological commitments to transparency of exposition. (shrink)

A collection of provocative, in-depth debates between Jurgen Habermas and a wide range of his critics relating to the philosopher's contribution to legal and democratic theory as published in his book BETWEEN FACTS AND NORMS. Essential reading for philosophers, legal scholars, and political and social theorists concerned with understanding the work of one of the leading philosophers of our age.

Written while the pandemic was still a key issue, this article tries to imagine the post-pandemic from different perspectives, and first of all in distinct temporalities. A question arises immediately: how can we consider the hypothesis of a deep cultural or anthropological mutation with intellectual or scientific tools that were forged before this mutation? What might new approaches for the social sciences look like? The article proceeds to analyse the more obvious social, technological and cultural changes that occurred with the (...) pandemic, which definitively modify our perception and understanding of globalisation. New or renewed inequalities, intergenerational tensions, racism, increasing fake news and conspiracy theory visions of the world, but also issues raised by feminism or ecology are at stake here. (shrink)

This w ork distinguishes bet w een violence used to attain a speci f ic purpose and violence intended or practice for itself. C r uelty is characterised as violence for violenc e' sa k e. Th e aim is to try to f ind an e xplanation for that c r uelty w hich can be described as absolute violence. F or that reason, reference is made to a series of books that h a v e dealt with the (...) subject that, in spite of allusions to other types of cruel t y , end b y speaking of militar y cr uelt y . An attempt to determine the 'functio n ' of c r uelty leads to an understanding of the conditions that ma k e it possi b le: impuni t y , fear and the culture of hate. F inal l y , the human being does not appear to be c r uel per se , but as someone w ho feels compelled to be so b y 'p o w er'. (shrink)