Dans le fr. 128 DK d'Empédocle, Empédocle nomme cinq dieux en opposition à Cypris : Arès, Kudoimos, Zeus, Cronos, Poséidon. Pourquoi ces cinq dieux? Quelle relation peuvent-ils entretenir avec le mythe hésiodique des cinq races, qui semble être en arrière-plan du propos d'Empédocle? Pourquoi Poséidon est-il présent à côté de Zeus et non pas Aïdôneus? L'article tente de répondre à ces questions. Pour finir, il s'interroge sur la relation possible des hommes de l'âge de Cypris et des daimones, et conclut (...) sur la place du fr. 128 dans l'œuvre d'Empédocle. In fr. 128 DK by Empedocles, Empedocles lists five gods in opposition to Cypris: Ares, Kudoimos, Zeus, Cronos, and Poseidon. Why these five gods? What link could they have with the Hesiodic myth of the five races of men, which seems to be in the background of Empedocles' purpose? Why does Poseidon appear near Zeus and not Aïdôneus? The article attempts to answer these questions. Finally, it examines the relationship of the men of the age of Cypris and the daimones, and concludes on the place of fr. 128 in the work of Empedocles. (shrink)

A ready answer to the question of Empedocles’ thinking about Good and Evil is to be found in Aristotle, who provides us with this simple rule of thumb : Good is associated with Love, and Evil with Hate. Fundamentally obvious as that rule may be, we need to go beyond Aristotle’s words. This article investigates several topics : fire, the sun, water, the hoard of divine thought, reincarnation, Empedoclean ethics, and, finally, the Blessed Ones. Complexity rules our quest to determine (...) what belongs to the Good and what belongs to the Bad. There are times when Love takes advantage of Hate’s ability to cause separation. The sun, manifestation par excellence of fire, is loaded with ambivalence in Empedocles – even though the high value placed almost universally on light is a commonplace in Greek thought. Empedocles is torn between his sense of wonder at the works of Aphrodite and his pessimism on recognizing the infernal cycle in which mortals are involved. (shrink)

Le début du fr. 21 DK d’Empédocle concerne les manifestations des quatre éléments dans le monde autour de nous. D’après le contexte, le référent de l’adjectif substantivé ambrota, au vers 4, concernerait l’air ou quelque chose intimement lié à l’air. Le mot ambrota se trouve enchâssé dans un développement sur le soleil, qui suggère le passage homérique du voile d’Héra d’un blanc éclatant comme le soleil. À partir de là et grâce à l’interprétation livrée par Aétius selon laquelle la racine (...) divine Héra, chez Empédocle, est l’air, il vient que les ambrota, souvent associés à heimata (les vêtements immortels) dans les vers épiques, désigneraient une Héra vêtue. Les vêtements qui dissimulent Héra, la déesse qu’il faut associer aux ambrota, seraient les nuages blancs, essentiellement faits d’air. L’explication repose sur une matrice thématique inscrite dans des vers épiques. Une présentation du chœur des Nuées d’Aristophane apporterait un écho à la conception empédocléenne des ambrota compris comme des nuages blancs. (shrink)

Le début du fr. 21 DK d’Empédocle concerne les manifestations des quatre éléments dans le monde autour de nous. D’après le contexte, le référent de l’adjectif substantivé ambrota, au vers 4, concernerait l’air ou quelque chose intimement lié à l’air. Le mot ambrota se trouve enchâssé dans un développement sur le soleil, qui suggère le passage homérique du voile d’Héra d’un blanc éclatant comme le soleil. À partir de là et grâce à l’interprétation livrée par Aétius selon laquelle la racine (...) divine Héra, chez Empédocle, est l’air, il vient que les ambrota, souvent associés à heimata (les vêtements immortels) dans les vers épiques, désigneraient une Héra vêtue. Les vêtements qui dissimulent Héra, la déesse qu’il faut associer aux ambrota, seraient les nuages blancs, essentiellement faits d’air. L’explication repose sur une matrice thématique inscrite dans des vers épiques. Une présentation du chœur des Nuées d’Aristophane apporterait un écho à la conception empédocléenne des ambrota compris comme des nuages blancs. (shrink)

Le terme consacré de " présocratique " n'est-il qu'une formule commode donnant un repère historique, ou peut-on trouver des lignes dominantes communes aux différentes écoles de cette période? S'il faut en croire Nietzsche et Heidegger, à partir de Socrate, quelque chose changerait et les philosophes présocratiques constitueraient la véritable tradition philosophique aujourd'hui perdue. Cet ouvrage nous invite à découvrir et comprendre ces philosophes dont seuls des fragments plus ou moins importants d'oeuvre nous ont été transmis : Thalès de Milet, Pythagore, (...) Héraclite, Parménide, Zénon d'Elée, Empédocle ou encore Anaxagore de Clazomènes. (shrink)

Cet article est disponible en texte intégral en format PDF.

Cet article est disponible en texte intégral en format PDF.

De la connaissance à la vie, et de la vie à la connaissance: en s'installant dans cette circularité radicale, les initiateurs grecs de la philosophie ont tâché de répondre à la difficulté que résume la question lancée par Socrate à ses contemporains: Comment doit-on vivre?. Pour ceux-là, connaître est tout sauf une activité désincarnée, et la vie humaine ne peut atteindre sa perfection propre qu'en se forgeant dans la quète d'un savoir sur soi, sur les autres et sur le monde. (...) En ce sens, c'est un savoir-vivre fondamental qui s'élabore dans les démarches contrastées, mais à bien des égards convergentes, des trois penseurs liminaires de la réflexion éthique que sont Empédocle, Socrate et Platon. Dans cette perspective, le présent essai se donne pour objet d'explorer de multiples facettes du projet philosophique, tel qu'il s'est affirmé entre le Vème et IVème siècles, interrogeant la visée de perfection individuelle et collective, la dimension réflexive et l'exigence pratique constitutives du mode de vie poursuivi. (shrink)

Les Présocratiques sont de retour. Ou plutôt ils font leur entrée dans un monde qui les avait à peu près ignorés jusque-là, faute de pouvoir les comprendre de l'intérieur. Cependant - et telle est la véritable originalité de ce livre - personne n'avait encore inscrit les Présocratiques dans l'ensemble des grandes traditions de l'humanité. A la lumière des cosmologies et des sagesses orientales - hindouisme, bouddhisme, taoïsme en particulier, dont Jean Biès est un familier - l'ouvrage explore pour la (...) première fois dans leur véritable lumière ce que furent la mentalité, la vision du monde et les enseignements des Présocratiques, en en renouvelant ainsi, et de fond en comble, l'intérêt, et par delà même, l'avenir des " Humanités classiques ". Parmi eux, Empédocle - poète, médecin, thaumaturge - occupe une place de choix pour peu que l'on déchiffre sa vie à l'aide du symbolisme : sa " descente " parmi les hommes, ses " pouvoirs " chamaniques, son " enlèvement " miraculeux. Philosophe de la nature, Empédocle fonde son système sur des " Racines " et des " Principes " opposés et complémentaires, sur la corrélation du multiple et de l'Un, sur la doctrine des cycles cosmiques et sur le Sphaïros, divinité suprême, qui, tous, permettent d'inattendus rapprochements avec les " points de vue " de l'Asie. Maître spirituel, il transmet des méthodes initiatiques également proches de l'ascèse orientale, permettant la réminiscence des vies antérieures et fournissant les moyens d'échapper à la transmigration. L'ouvrage propose une traduction inédite et commentée des poèmes de l'Agrigentin : De la Nature et Purifications. (shrink)

Romain Rolland (1866-1944), écrivain, dramaturge, historien et musicologue, est l'auteur d'une oeuvre considérable et variée. La Grande Guerre fut pour lui l'occasion d'une méditation sur la violence et la haine, et le désastre qui s'abattit sur l'Europe, méditation qui aboutira à la rédaction d'Au-dessus de la mêlée (1914). Ce manifeste pacifiste, lucide et passionné, contribua à l'obtention, par l'auteur déjà célèbre de Jean-Christophe, Beethoven, La vie de Tolstoï, Danton, Les Loups, etc, du prix Nobel de littérature (1915). Son oeuvre (...) se caractérise par la recherche d'une harmonie universelle, de paix et de justice. Empédocle (1918) et L'éclair de Spinoza (1924) sont une expression "enthousiaste" de gratitude envers deux immenses penseurs, compagnons de route de Rolland, qui en a subi la profonde et durable influence. Il s'y révèle un styliste de grande classe, poète original en même temps que rigoureux penseur et pédagogue. (shrink)

According to the traditional view of Empedocles' cosmic cycle, there are two creations of plants and animals, one under the dominion of increasing Strife and one under the dominion of increasing Love. At the point at which Strife holds complete sway the four elements are completely separated and all life is destroyed; at the point at which Love is completely dominant there is also a destruction of the biological world, this time because the elements are blended into a perfectly homogeneous (...) mixture. This interpretation of the cosmic cycle, which has prevailed almost since it was developed by Friedrich Panzerbieter and seconded by authority of Eduard Zeller was challenged by Paul Tannery and then by H. von Arnim . Long after these essentially programmatic critiques, three independent studies published in 1965 by Jean Bollack, Uvo Hölscher and Friedrich Solmsen mounted a vigorous challenge to the received view. However, in a detailed monograph devoted to Empedocles' cosmic cycle, Denis O'Brien brought to bear an impressive array of scholarly evidence and critical acumen in support of the traditional view . Several challenges to the traditional view have appeared since O'Brien's book, of which the most significant is that of A. A. Long, who, while criticizing attempts of some opponents of the traditional view, produced some novel and interesting arguments against it. Although the traditional view continues to enjoy the support of authorities such as Jonathan Barnes and M. R. Wright, there is a decided shift in favour of revisionary views. Nevertheless recent advocates of a revisionary interpretation do not provide detailed refutations of the traditional view; Long's arguments remain the strongest objections to the traditional view, and they have never been refuted. Will they stand up to scrutiny? (shrink)

According to the traditional view of Empedocles' cosmic cycle, there are two creations of plants and animals, one under the dominion of increasing Strife and one under the dominion of increasing Love. At the point at which Strife holds complete sway the four elements are completely separated and all life is destroyed; at the point at which Love is completely dominant there is also a destruction of the biological world, this time because the elements are blended into a perfectly homogeneous (...) mixture. This interpretation of the cosmic cycle, which has prevailed almost since it was developed by Friedrich Panzerbieter and seconded by authority of Eduard Zeller was challenged by Paul Tannery and then by H. von Arnim. Long after these essentially programmatic critiques, three independent studies published in 1965 by Jean Bollack, Uvo Hölscher and Friedrich Solmsen mounted a vigorous challenge to the received view. However, in a detailed monograph devoted to Empedocles' cosmic cycle, Denis O'Brien brought to bear an impressive array of scholarly evidence and critical acumen in support of the traditional view. Several challenges to the traditional view have appeared since O'Brien's book, of which the most significant is that of A. A. Long, who, while criticizing attempts of some opponents of the traditional view, produced some novel and interesting arguments against it. Although the traditional view continues to enjoy the support of authorities such as Jonathan Barnes and M. R. Wright, there is a decided shift in favour of revisionary views. Nevertheless recent advocates of a revisionary interpretation do not provide detailed refutations of the traditional view; Long's arguments remain the strongest objections to the traditional view, and they have never been refuted. Will they stand up to scrutiny? (shrink)

_Being and Nothingness_ is without doubt one of the most significant books of the twentieth century. The central work by one of the world's most influential thinkers, it altered the course of western philosophy. Its revolutionary approach challenged all previous assumptions about the individual's relationship with the world. Known as 'the Bible of existentialism', its impact on culture and literature was immediate and was felt worldwide, from the absurd drama of Samuel Beckett to the soul-searching cries of the Beat poets. (...) _Being and Nothingness_ is one of those rare books whose influence has affected the mind-set of subsequent generations. Sixty years after its first publication, its message remains as potent as ever - challenging the reader to confront the fundamental dilemmas of human freedom, responsibility and action. (shrink)

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world we made. (...) It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)

This major study of Hobbes' political philosophy draws on recent developments in game and decision theory to explore whether the thrust of the argument in Leviathan, that it is in the interests of the people to create a ruler with absolute power, can be shown to be cogent. Professor Hampton has written a book of vital importance to political philosophers, political and social scientists, and intellectual historians.

Fabienne Blaise« L'expérience délirante de la raison divine : les Bacchantes d'Euripide », Methodos 3 (Figures de l'irrationel), 2003, p. 35-60. Jean Bollack– L'écrit. Une poétique dans l'oeuvre de Celan, Paris (PUF, « Perspectives germaniques »), 2003, 231 p. – Empédocle. Les purifications. Un projet de paix universelle, édité, traduit et commenté par J. Bollack, Paris (Seuil, « Points. Essais »), 2003, 144p. – « Une autre Antigone et un autre Œdipe », dans C. Botella, Penser les limites. Éc..

A cornerstone of Sartre’s philosophy, _The Imaginary_ was first published in 1940. Sartre had become acquainted with the philosophy of Edmund Husserl in Berlin and was fascinated by his idea of the 'intentionality of consciousness' as a key to the puzzle of existence. Against this background, _The Imaginary_ crystallized Sartre's worldview and artistic vision. The book is an extended examination of the concepts of nothingness and freedom, both of which are derived from the ability of consciousness to imagine objects both (...) as they are and as they are not – ideas that would drive Sartre's existentialism and entire theory of human freedom. (shrink)

A cornerstone of Sartre’s philosophy, _The Imaginary_ was first published in 1940. Sartre had become acquainted with the philosophy of Edmund Husserl in Berlin and was fascinated by his idea of the 'intentionality of consciousness' as a key to the puzzle of existence. Against this background, _The Imaginary_ crystallized Sartre's worldview and artistic vision. The book is an extended examination of the concepts of nothingness and freedom, both of which are derived from the ability of consciousness to imagine objects both (...) as they are and as they are not – ideas that would drive Sartre's existentialism and entire theory of human freedom. (shrink)

A major event in the history of twentieth-century thought, Notebooks for a Ethics is Jean-Paul Sartre's attempt to develop an ethics consistent with the profound individualism of his existential philosophy. In the famous conclusion to Being and Nothingness , Sartre announced that he would devote his next philosophical work to moral problems. Although he worked on this project in the late 1940s, Sartre never completed it to his satisfaction, and it remained unpublished until after his death in 1980. Presented (...) here for the first time in English, the Notebooks reveal Sartre at his most productive, crafting a masterpiece of philosophical reflection that can easily stand alongside his other great works. Sartre grapples anew here with such central issues as "authenticity" and the relation of alienation and freedom to moral values. Exploring fundamental modes of relating to the Other--among them violence, entreaty, demand, appeal, refusal, and revolt--he articulates the necessary transition from individualism to historical consciousness. This work thus forms an important bridge between the early existentialist Sartre and the later Marxist social thinker of the Critique of Dialectical Reason . The Notebooks themselves are complemented here by two additional essays, one on "the good and subjectivity," the other on the oppression of blacks in the United States. With publication of David Pellauer's lucid translation, English-speaking readers will be able to appreciate this important contribution to moral philosophy and the history of ethics. Jean-Paul Sartre (1906-1980) was offered, but declined, the Nobel Prize for literature in 1964. His many works of fiction, drama, and philosophy include the monumental study of Flaubert, The Family Idiot , and The Freud Scenario , both published in translation by the University of Chicago Press. (shrink)

"In a wide-ranging discussion the author examines the philosophy of Kant, Heidegger, Adorno and Derrida and looks at the works of modernist and postmodernist artists such as Cezanne, Debussy and Boulez. Lyotard addresses issues such as time and memory, the sublime and the avant-garde, and the relationship between aesthetics and politics. Throughout his discussion he considers the close but problematic links between modernity, progress and humanity, and the transition to postmodernity. Lyotard claims that it is the task of literature, philosophy (...) and the arts to bear witness to and explain this difficult transition." "This important contribution to aesthetic and philosophical debates will be of great interest to students in philosophy, literary and cultural theory and politics."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

In Godard's Le Mépris [Contempt, 1963], Fritz Lang, playing a fictional version of himself, evokes the complex relationship between cinema's future and the end of cinema by citing a famous verse from the German poet Friedrich Hölderlin, according to which what counts in respect of poetry is henceforth no longer the secret persistence of the gods, nor their covert proximity, but their enduring absence. This paper explores the implications of that insight as they come to affect first Godard's film, then (...) the three films based on Hölderlin's works directed by Danièle Huillet and Jean-Marie Straub between 1986 and 1992: Der Tod des Empedokles [The Death of Empedocles]; Schwarze Sünde [Black Sin]; and Die Antigone des Sophokles nach der Hölderlinschen Übertragung für die Bühne bearbeitet von Brecht (Suhrkamp Verlag, 1948) [Sophocles? Antigone Based on Hölderlin's Translation, as Adapted for the Stage by Brecht (published by Suhrkamp, 1948)]. At issue in all those films, and similarly in Straub and Huillet's 1974 film of Schoenberg's Moses und Aron, is the tension between the project or dream of sacrifice as a form of fusional politico-religious redemption and its very impossibility as such, attributable (among others) to the necessary subordination of film to spatio-temporal differentiation and, by that token, to what is irreducible to the visible and the invisible alike. Through careful analysis of Huillet and Straub's filmmaking strategy, the paper examines both the aesthetic and political consequences of their interruption of the logic of sacrifice, and seeks to show how the future of cinema is not reducible to the aesthetics of the spectacular but is inseparable from the promise of that which, before or beyond spectacle, has not yet ever been seen before. (shrink)

In Godard's Le Mépris [Contempt, 1963], Fritz Lang, playing a fictional version of himself, evokes the complex relationship between cinema's future and the end of cinema by citing a famous verse from the German poet Friedrich Hölderlin, according to which what counts in respect of poetry is henceforth no longer the secret persistence of the gods, nor their covert proximity, but their enduring absence. This paper explores the implications of that insight as they come to affect first Godard's film, then (...) the three films based on Hölderlin's works directed by Danièle Huillet and Jean-Marie Straub between 1986 and 1992: Der Tod des Empedokles [The Death of Empedocles]; Schwarze Sünde [Black Sin]; and Die Antigone des Sophokles nach der Hölderlinschen Übertragung für die Bühne bearbeitet von Brecht [Sophocles’ Antigone Based on Hölderlin's Translation, as Adapted for the Stage by Brecht ]. At issue in all those films, and similarly in Straub and Huillet's 1974 film of Schoenberg's Moses und Aron, is the tension between the project or dream of sacrifice as a form of fusional politico-religious redemption and its very impossibility as such, attributable to the necessary subordination of film to spatio-temporal differentiation and, by that token, to what is irreducible to the visible and the invisible alike. Through careful analysis of Huillet and Straub's filmmaking strategy, the paper examines both the aesthetic and political consequences of their interruption of the logic of sacrifice, and seeks to show how the future of cinema is not reducible to the aesthetics of the spectacular but is inseparable from the promise of that which, before or beyond spectacle, has not yet ever been seen before. (shrink)

First published in France in 1936 as a journal article, The Transcendence of the Ego was one of Jean-Paul Sartre's earliest philosophical publications. When it appeared, Sartre was still largely unknown, working as a school teacher in provincial France and struggling to find a publisher for his most famous fictional work, Nausea . The Transcendence of the Ego is the outcome of Sartre's intense engagement with the philosophy of Edmund Husserl, the founder of phenomenology. Here, as in many subsequent (...) writings, Sartre embraces Husserl's vision of phenomenology as the proper method for philosophy. But he argues that Husserl's conception of the self as an inner entity, 'behind' conscious experience is mistaken and phenomenologically unfounded. The Transcendence of the Ego offers a brilliant diagnosis of where Husserl went wrong, and a radical alternative account of the self as a product of consciousness, situated in the world. This essay introduces many of the themes central to Sartre's major work, Being and Nothingness : the nature of consciousness, the problem of self-knowledge, other minds, anguish. It demonstrates their presence and importance in Sartre's thinking from the very outset of his career. This fresh translation makes this classic work available again to students of Sartre, phenomenology, existentialism, and twentieth century philosophy. It includes a thorough and illuminating introduction by Sarah Richmond, placing Sartre's essay in its philosophical and historical context. (shrink)

Comme l’indique l’auteur lui‑même, ce livre vient conclure une série de quatre publications à caractère monographique, illustrant chacune son programme de « psychanalyse sociohistorique ». Il s’agit des Stigmates de l’hystérique et la peau de son évêque. Laurentine Billoquet (1862-1936), Paris, Anthropos, 1993 ; Une inconnue célèbre. Madeleine Lebouc / Pauline Lair Lamotte (1853‑1918), même éditeur, 1993 ; L’Autobiographie d’un paranoïaque. L’abbé Berry (1878‑1947) et le roman de Billy « Intr...

Lyotard is considered one of the most brilliant and influential of French post-structuralist thinkers. Published in 1974 by Minuit, Économie libidinale is, of all his work to date, the most creative in its mode of writing and in its theorizing: a stunning, dense, brilliant piece in which Lyotard, ranging from Marxist and Freudian theory to contemporary arts, argues that political economy is charged with passions and, reciprocally, that passions are infused with the political.

Philosopher, novelist, dramatist and existentialist Jean-Paul Sartre is one of the greatest writers of all time. He was fascinated by the role played by the emotions in human life and placed them at the heart of his philosophy. This brilliant short work - which contains some of the principal ideas later to appear in his masterpiece Being and Nothingness - is Sartre at his best: insightful, engaging and controversial. Far from constraining one's freedom, as we often think, Sartre argues (...) that emotions are fundamental to it and that an emotion is nothing less than 'a transformation of the world'. With a new foreword by Sebastian Gardner. (shrink)

Philosopher, novelist, dramatist and existentialist Jean-Paul Sartre is one of the greatest writers of all time. He was fascinated by the role played by the emotions in human life and placed them at the heart of his philosophy. This brilliant short work - which contains some of the principal ideas later to appear in his masterpiece Being and Nothingness - is Sartre at his best: insightful, engaging and controversial. Far from constraining one's freedom, as we often think, Sartre argues (...) that emotions are fundamental to it and that an emotion is nothing less than 'a transformation of the world'. With a new foreword by Sebastian Gardner. (shrink)