Human beings orient themselves in the world via judgments; factual, moral, prudential, aesthetic, and all kinds of mixed judgments. Particularly for normative orientation in complex and contested contexts of action, it can be challenging to form judgments. This paper explores what one can reasonably expect from a theory of the power of judgment from a Kantian approach to ethics. We reconstruct practical judgments on basis of the self-reflexive capacities of human beings, and argue that for the subject to see himself (...) as committed to prudential goods it is necessarily implied that he understands himself as committed to moral judgment. However, to understand the normativity of understanding oneself as a being with practical commitments at all, the aesthetic judgment is introduced: the power of judgment in its pure form of selfreflexivity. We claim that aesthetic reflection and judgment is conditional on the possibility for human beings to enter the space of reasons, and therewith for practical self-understanding as such. The paper concludes with a preliminary sketch of different conceptual possibilities in fleshing out the role of the power of judgment in its aesthetic employment in developing mixed judgments. (shrink)

-Presents the first multicultural and multidisciplinary volume to study harmony as a virtue -Represents a broad variety of cultural traditions, including the Confucian, Daoist, Buddhist, Judaist, Greek, Christian, Islamic, African, and Native American traditions, as well as different disciplinary approaches, including philosophy, religious studies, linguistics, psychology, and political theory -Chapters are written by leading scholars in respective fields -Remains suitable for general readers as well as college students and researchers interested in the topic.

He (和), or harmony, has traditionally been a central concept in Chinese thought, and to this day continues to shape the way in which people in China and East Asia think about ethics and politics. Yet, there is no systematic and comprehensive introduction of harmony as has been variously articulated in different Chinese schools. This edited volume aims to fill this gap. The individual contributions elaborate the conceptions of harmony as these were exemplified in central Chinese schools of thought, including (...) Daoism, Confucianism, Legalism, Mohism, Buddhism, and trace their impact on contemporary Chinese philosophy. The volume explores the various meanings and implications of harmony so as to consider its relevance as a value and virtue in the modern world. It provides an accessible but substantial introductory work for readers interested in learning about pertinent core concepts and theories in Chinese thought, as well as engages specialists in Chinese philosophy by explicating its implications for ethical, political, epistemological, and metaphysical reflection as the basic point of reference. (shrink)

Rather than a return to Bergson, the ‘Kyoto manifesto’ argues for a renewed, expanded Bergsonism: a philosophical inquiry that lives up to the methodological standards set by Bergson, even if this implies prolonging some of his intuitions in different directions—possibly against himself. Several aspects of this endeavour are examined in turn: the meaning of ‘intuition’ and the prospects of speculative empiricism, the ontological scope of scientific theories, emergentism and the virtual, the relevance of space-time for duration, the place of metaphysical (...) imagination and its capacity to probe the utopian potential of a truly open science. (shrink)

Le concept d’espace-temps remplit chez Raymond Ruyer des fonctions diverses et ambivalentes. Il est envisagé ici comme schème explicatif commun à la physique et à la métaphysique, comme mythe philosophique formulant la question de l’unité du monde, enfin comme thème formel dans sa relation complexe au « trans-spatial » ainsi qu’à la notion bergsonienne de « durée ».

: Catherine Malabou is a professor of philosophy at Paris-Nanterre. A collaborator and student of Jacques Derrida, her work shares some of his interest in rigorous protocols of reading, and a willingness to attend to the undercurrents of over-read and "too familiar" texts. But, as she points out, this orientation was shared by Hegel himself. Arguing against Heidegger, Kojève, and other critics of Hegel, the book in which this Introduction appears puts Hegel back on the map of the present.

Catherine Malabou is a professor of philosophy at Paris-Nanterre. A collaborator and student of Jacques Derrida, her work shares some of his interest in rigorous protocols of reading, and a willingness to attend to the undercurrents of over-read and “too familiar” texts. But, as she points out, this orientation was shared by Hegel himself. Arguing against Heidegger, Kojève, and other critics of Hegel, the book in which this Introduction appears puts Hegel back on the map of the present.

Like all deaths, Raymond Williams’ must touch most profoundly those who were closest to him; it belongs first to his private circle. But it also belongs to his fame: to those who have read his books, heard him speak in public, were taught by him, and, then, to those who have been taught by those he taught, and so on. Because Williams was so committed and important politically—writing not just as an academic but as a leftist—his death also enters public (...) history. One can ask: does it mark the end of an era? Or, on the contrary, is it the sign of a beginning set in motion by the programs, the shifts of emphasis, he urged? Such questions are all the most insistent because the left, as a political force and as an idea, is so fragile today. Indeed, no other theme seems as urgent in thinking about Williams’ life and work now; for, to put it rather glibly, it is no longer easy to tell left from right. If we regard “being on the left” as requiring the belief that state control of the economy and the ideological apparatus and the empowerment of the proletariat are steps demanded by the journey towards real, rather than illusory or formal, freedom, then who is still on the left? And if “being on the left” does not require such beliefs, if there is a left that is not statist, how does it differ from liberalism, from a Deleuzian or Foucauldian micro-politics or a mere insistence on “social justice”?2 2. This is not to approach the question of what it means to be a “Marxist” in cultural/literary studies. Historically, one of the clearest demarcations of Marxism within and from the left in general was its willingness to theorize and imagine revolution. The difficulties faced by Williams’ work and career are very much those posed by a nonrevolutionary Marxism. Simon During is a lecturer in English at the University of Melbourne. His Foucault and Literature will appear in 1990, and he is currently working on a book entitled Literature without Culture. (shrink)

Precisão, análise, enquete: estas noções carregam uma ideia da filosofia que mesmo os mais convencidos dos bergsonistas têm dificuldade para sustentar na prática, tão forte é a pressão que pesa sobre cada um para produzir uma filosofia identificável, suscetível de encontrar seu lugar no jogo dos sistemas. É que nas condições fixadas por Bergson, não poderia existir sistema senão “por provisão”, o tempo de uma questão.

Este manifesto, escrito a quatro mãos no contexto de um colóquio sobre Bergson organizado no Japão, visa inicialmente responder a uma simples questão: que significa, hoje, trabalhar à maneira de Bergson? Não se trata de uma pergunta sobre a dedicação para com o corpus bergsoniano ou quanto a certos temas que o seu pensamento permite renovar a compreensão, mas sim sobre o método que ele próprio recomenda. Este método foi aplicado diligentemente por Bergson no curso de suas investigações, particularmente quanto (...) ao seu trato com as ciências positivas, tanto as da vida quanto às do universo material em sentido amplo. No que diz respeito à função da imaginação metafísica, este manifesto refaz os passos de Bergson quanto a um empirismo não especulativo e verdadeiramente contemporâneo à inteligência científica. (shrink)

Wittgenstein n'a eu de cesse de critiquer la distinction entre géométrie pure et géométrie appliquée. Cette distinction a été notoirement défendue par les positivistes logiques qui, dans le cadre d'une théorie renouvelée de l'a priori, entendaient marquer une séparation nette entre les mathématiques (systèmes formels non interprétés) et la physique (systèmes interprétés, dotés d'une signification factuelle ou empirique). Les raisons de ce partage perdent leur évidence si l'on envisage la géométrie en action, comme une pratique où les règles ne peuvent (...) pas être considérées indépendamment des « coups » qu'elles règlent effectivement. Cette conception « syntaxique » de la géométrie éclaire la signification réelle du « conventionnalisme géométrique » attribué à Poincaré ; elle fait comprendre du même coup les distorsions introduites par les interprétations qui se sont appuyées de façon implicite ou explicite sur la distinction entre le pur et l'appliqué. (shrink)

Résumé Dans les débats métaphysiques contemporains, « endurer » et « perdurer » désignent deux manières irréductibles de persister dans le temps et de subir le changement. Parce qu’ils mobilisent différemment la forme de représentation « espace-temps », ces schèmes conceptuels révèlent peut-être deux figures ou deux aspects du temps lui-même.

When the German mathematician Hermann Minkowski first introduced the space-time diagrams that came to be associated with his name, the idea of picturing motion by geometric means, holding time as a fourth dimension of space, was hardly new. But the pictorial device invented by Minkowski was tailor-made for a peculiar variety of space-time: the one imposed by the kinematics of Einstein’s special theory of relativity, with its unified, non-Euclidean underlying geometric structure. By plo tting two or more reference frames in (...) relative motion on the same picture, Minkowski managed to exhibit the geometric basis of such relativistic phenomena as time dilation, length contraction or the dislocation of simultaneity. These disconcerting effects were shown to result from arbitrary projections within four-dimensional space-time. In that respect, Minkowski diagrams are fundamentally different from ordinary space-time graphs. The best way to understand their specificity is to realize how productively ambiguous they are. (shrink)

Now the problem is this. Have we found a positive foundation, instead of self-sacrifice, for the hermeneutics of the self? I cannot say this, no. We have tried, at least from the humanistic period of the Renaissance till now. And we can’t find it.The reputation of political thinkers is a tricky thing. Sometimes your strongest supporters are your worst nightmare. At other moments, your best friends can see you more clearly than is strictly comfortable. The French militant, philosopher, and mystic (...) Simone Weil is a good example. In the years 1932 to 1933, she was connected to the dissident, Trotsky-leaning Communist Boris Souvarine and his Cercle communiste démocratique. She taught philosophy to well-bred... (shrink)

Admirers of Robert Bresson often remark on the commitments he shares with the philosopher and activist Simone Weil. Both stubbornly idiosyncratic, they subscribe to what modernists call “a poetics of impersonality”: a deep desire to shed the ego and find some space empty of will, intention and even consciousness. Bresson pursued this ideal through his anti-theatrical practice, his resistance to expression and interpretation, and his war against “acting.” In Weil's religious thinking, the possibility of achieving a state of automatism in (...) the soul, and thus leaving room for God to occupy all, was central. “Decreation,” her term for this principle, sounds like a will to suicide (a recurring theme in Bresson) but she explains it as motivated by love. Bresson's writerly films – the Bernanos adaptations (especially Diary of a Country Priest) – and Au hasard Balthazar – take as their theme the problem of grace. As in Weil, the path to grace goes through an acceptance of brutal necessity and incomprehensible accident. This is also the conclusion of Rossellini's Europa ’51. While André Bazin is a thinker with a keen sensitivity to grace and spiritual accident – his interest in depth of field is motivated by a desire to keep the free exercise of chance in play – his notion of love is more compassionate than anything we meet in Weil, Bresson or Rossellini. As Truffaut remarked, Bazin is a Christian from the days before the Fall. (shrink)

En philosophie, l'impossible a un nom : c'est, depuis Kant, la "chose en soi". La notion n'a pas bonne presse. A peine introduite, elle a connu un discrédit durable. Curieuse idée en effet que celle d'une réalité reconnue comme inconnaissable sans être pour cela impensable. Et pourtant, la chose en soi résiste et ne cesse de revenir sous diverses dénominations : "matière", "facticité", "résistance", "inconstructible", etc. Aujourd'hui encore, son idée hante les débats, du côté de la philosophie comme des sciences (...) de la nature ou de l'anthropologie, chez les métaphysiciens comme chez les philosophes les plus réalistes. Il fallait donc la traiter pour de bon : c'est chose faite avec cette compilation, qui regroupe parmi les plus grands noms de la philosophie contemporaine afin de régler cette question qui touche à l'absolu, donc à toute pensée. (shrink)