_TABLE OF CONTENTS:_ Translator's Introduction Introduction by Genevieve Rodis-Lewis _The Passions of the Sou_l: Preface PART I: About the Passions in General, and Incidentally about the Entire Nature of Man PART II: About the Number and Order of the Passions, and the Explanation of the Six Primitives PART III: About the Particular Passions Lexicon: Index to Lexicon Bibliography Index Index Locorum.

Principles of Philosophy. Author’s Letter to the Translator (Preface).

El propósito de este texto es sugerir algunas ideas sobre el tiempo y la impronta. Comenzando con una breve consideración de la expresión francesa maintenant, el texto pasa a examinar la diferencia, propuesta por G. Dumezil, entre impronta y fósil. En un primer momento, la inspiración viene de algunos aspectos de la religión; luego, de las dos dimensiones del tiempo de la historia que propone Peguy: una que solo considera la pura secuencia de los acontecimientos y la otra que retiene (...) lo posible, la impronta del pasado; finalmente, del poema de Baudelaire "Le Cygne", en el cual es posible distinguir una historia que lo arrasa todo y una conservación del pasado como forma de resistencia o protesta del individuo. A partir de aquí el texto presenta la impronta como la dimensión del tiempo en la que la subjetivación le añade profundidad, permanencia de lo que ya pasó, al tiempo de la historia. En un segundo momento, inspirado en la unidimensionalidad de Marcuse y en la sociedad de consumo de Pasolini, el texto trata las ideas de realidad y de progreso para sugerir que la realidad no es solo la actualidad y el progreso no es la moda: la impronta añade conservación. Para el tercer momento, la inspiración viene de Andy Warhol. Ahora la idea es presentar la impronta en su función de puente, de vínculo entre el arte contemporáneo y el antiguo. Finalmente, el texto alude a la noción de difracción, tomada de Fourier, para subrayar la idea de que la impronta implica contestación del puro presente, resistencia, liberación. The purpose of this text is to suggest some ideas about the issue of time and trace. Beginning with a short consideration about the French expression "maintenant", the text goes on examining the difference, pointed out by G. Dumézil, between trace and fossil. In a first moment, the inspiration comes from some aspects of religion. Then, from Peguy's two dimensions of the time of history: one concerned with the pure sequence of events and the other retaining the possible, the trace of the past. Finally from Baudelaire's poem "Le Cygne", where it is possible to distinguish between a history that sweeps everything and a conservation of the past as some sort of resistance or protest of the individual. With this in mind, the text presents trace as this dimension of time where subjectivation adds depth, permanence of what is already gone, to the time of history. In a second moment, inspired by Marcuse's unidimensionality and Pasolini's consumer society, the text examines de idea of reality and progress to say that reality is not just current events and progress is not fashion: trace adds conservation. For the third moment, the inspiration comes from Andy Warhol. Now the idea is to present the trace in its function ofbridge or link between the contemporary and the ancient art. Finally, the text considers the notion of diffraction, taken from Fourier, which helps to underline the idea that trace means challenge to the pure present, resistance, liberation. (shrink)

En son principe, la raison semble etre exigence de fondement: etre rationnel, c'est expliquer les evenements en leur trouvant des causes, justifier ses affirmations en les demontrant a partir d'autres affirmations, organiser son action en la soumettant a un plan ou a un principe.[...] Il y a des lors, et c'est l'idee essentielle de Popper, une forme de pensee rationnelle, c'est-a-dire non arbitraire: c'est la pensee critique. Le principe de celle-ci, c'est de mettre a l'epreuve toutes les idees que l'on (...) emet: en partant du principe qu'elles ne peuvent acquerir de valeur qu'apres une telle mise a l'epreuve.[...] Popper ne cherche pas l'originalite mais la verite, et les theses qu'il avance n'ont pas de sens pour elles memes, mais par l'argumentation qui les soutient contre d'autres theses, parfois plus originales et seduisantes, mais a la fois non rigoureuses et pleines de prejuges dangereux pour la science comme pour la morale. (shrink)

FRANCK LESSAY. — Avant de dialoguer ensemble autour de la thématique des nouvelles guerres de religion, il nous apparaît important de nous attarder sur la notion même de « guerre de religion », de nous interroger sur son degré de pertinence dans le monde contemporain et sur l’évolution qu’elle peut avoir subie historiquement. Comment les guerres de religion de..

The essence of Descartes' thoughts from Discourse on the method, Meditations on the first philosophy [and] Letters of Descartes.

Have the critiques of humanism of the 1960s and 1970s buried this idea once and for all? Or is there a way that humanism can absorb some of this antihumanist thinking and thereby renew itself? Drawing on writings of Michel Foucault, Charles Taylor, Friedrich Nietzsche, and Martin Heidegger in order to illuminate artworks by Robert Smithson and Hans Holbein, René Arcilla argues for a revised idea of the human that is rooted not in some authentic, essential identity of ours, (...) but in an unruly language in which we all participate. He suggests that educatively cultivating a society that appreciates the Human language could be the aim of humanism in our time. (shrink)

Daß Descartes – im Anschluß an den "Discours de la méthode" (1637) und die "Meditationes de prima philosophia" (1641) – mit der Veröffentlichung der "Principia" die Zäsur setzte, die seinen Rang als erster Denker der "Philosophie der Neuzeit" begründete, ist ein Topos der Philosophiegeschichte. Uneinigkeit besteht aber bis heute unter den Biographen und Interpreten über die Frage, ob Descartes selbst sich dessen bewußt war, daß alle Aussagen bzw. Erkenntnisse über das Geschehen in der Natur notwendig hypothetisch bleiben (unter metaphysischem Aspekt) (...) und dennoch (sofern methodisch gewonnen) die Wirklichkeit treffen und berechenbar machen. Oder ob er in den "Principia" nur deshalb darauf verfiel, alle seine Aussagen über die Prinzipien der körperlichen Dinge, die sichtbare Welt und die Erde in bloß hypothetischer Form vorzutragen, um der Verfolgung durch die Inquisition zu entgehen. Diese neue, zweisprachige Ausgabe der philosophiegeschichtlich Epoche machenden Schrift bietet neben dem lateinischen Originaltext und der völlig neu erstellten, terminologischen Unterscheidungen genau Rechnung tragenden Übersetzung erstmals auch eine umfassende Erschließung der von Descartes herangezogen Quellen, d. i. der zeitgenössischen Publikationen zur Untersuchung von Naturphänomenen, die wir heute – seit Descartes – als physikalische oder naturwissenschaftliche Untersuchungen einordnen können. (shrink)

According to the standard view on the issue, the habit of marking questions with a particular typographical sign in Greek and Latin script does not arise prior to the eighth or ninth century. This period is generally credited with the ‘invention’ of the question mark (excepting Syriac evidence, which points to the fifth and sixth centuries). The purpose of the present article is to correct this view. It argues that the first indication for the use of a typographical sign that (...) marks questions can actually be detected no later than during the reign of Emperor Hadrian (a.d. 117–38), that is, more than half a millennium before the traditional date of the invention. The chief witness is Nicanor of Alexandria, who does not seem to have used question marks himself, but criticizes the misappropriation of another punctuation mark to that purpose. He thus indirectly testifies to the existence of question marks. Comparable traces can also be found later in the exegetical works of some Christian commentators. (shrink)