Arte cuya esencia es la mimêsis, la pintura no imita, de manera más o menos “realista”: el pintor imita lo real, no tal como es, sino tal como aparece, pinta un phantasma, un simulacro. La mimêsis plantea la cuestión central en la filosofía de Platón de los grados del ser: imitación de la apariencia, la pintura se aleja de lo real y de lo verdadero. Platón utiliza el concepto de imitación para estructurar el sistema de la esencia y de sus (...) reproducciones. (shrink)

Es importante entender la posición de Aristóteles y su diferenciacon respecto a la de Platón. No se trata solamente de explicar elporqué del paso de la división tripartita del alma –racional,irascible y concupiscible– a la división bipartita –racional eirracional–, sino, también, de advertir y ser consciente de lasprofundas implicaciones que este paso tiene y, sobre todo, susconsecuencias en el nuevo estatuto del deseo en la vida moral.

La aversión de los renacentistas por el método silogístico les hizo experimentarnuevas formas literarias más “estéticas” que sirvieron a menudo paraencubrir la falta de cualquier especie de lógica o de razonamiento. El usodel método geométrico sería la respuesta de los filósofos del siglo XVII aesta falta de lógica y de razonamiento. Tal parece ser, en efecto, el caso deDescartes quien borró “la lengua de la Escuela y el estilo de la Escuela” ydecretó la universalidad del método matemático. Con todo, según (...) Spinoza,Descartes ni logró sustraerse a la férula escolástica, ya que heredó de lasespeculaciones teológicas medievales, ni alcanzó liberarse del todo delórganon aristotélico. (shrink)

¿Hay algún retrato “verdadero” de Descartes? Si bien sabemos, salvo unas pocas excepciones, quiénes pintaron o grabaron el retrato de Descartes, reconocemos a Descartes sin saber si los cuadros y los grabados lo retratan “verdaderamente”. ¿Qué tienen en común los grabados de Hellemans y del autor desconocido de “Descartes como Fausto” con el cuadro de Weenix? La respuesta es inequívoca: los libro; hasta tal punto que el libro funge como un atributo. El ícono de la filosofía moderna es el que (...) se esconde para pensar; es el que, desde el secreto detrás de la máscara, mira al espectador y lo obliga, bajo el prisma de la iconografia, a devolverse del mundo de la representación a la letra del texto. (shrink)

Después de recordar las dificultades del pensamiento tomista cuando trata de la relación jerárquica entre dos facultades de Dios: la voluntad y el entendimiento y de precisar el intelectualismo tomista al mostrar que para Santo Tomás la voluntad divina tiene un límite, se vincula la discusión tomista con la obra de Descartes. Finalmente, se advierte que en Ockham y en su escuela nominalista se encuentra un antecedente de la posición cartesiana. La expresión "ne quidem ratione" remite a la doctrina de (...) Ockham y de su escuela sobre la simplicidad absoluta de la esencia divina. Pues tanto para Ockham como para Descartes "ni siquiera lógicamente (ne quidem ratione)" nos es posible asignar una distinción en las facultades divinas. Dios se hace incomprensible para nuestro pensamiento, para nuestra lógica. Y Él lo es, según Descartes y Ockham, porque su poder nos supera: la potentia Dei es absoluta. (shrink)

Por medio de la práctica de la historia el presente se reúne con su actualidad a través de la “cuestión de la revolución”. Primero el fascismo, despuésla guerra y, finalmente, el estalinismo, están en el fondo de la reflexiónde Michel Foucault. En su obra, el retorno de la revolución es nuestroproblema, como bien lo muestra el comentario que da en enero de 1983 deltexto de Kant, “¿Qué es la Ilustración?”, donde las dos preguntas “¿Quées la Aufklärung?” y “¿Qué es la (...) Revolución?” son las dos formas bajo lascuales Kant ha planteado la cuestión de su propia actualidad. (shrink)

La felicidad no se reduce al bienestar afectivo de un organismo adaptado asu medio. El hombre debe reflexionar para construir su vida según unosvalores. No puede desatender ni su libertad, ni su responsabilidad ante elcompromiso voluntario de su acción. Ser feliz supone que el hombre seacapaz de lograr un equilibrio que supere sus contradicciones y sus conflictos.Si el hombre quiere ser feliz, no debe olvidar que la felicidad es el resultadode una conquista primero sobre él mismo y luego sobre un (...) mundo en elque debe tener en cuenta no solamente las fuerzas naturales, sino también alos demás hombres. (shrink)

Mostramos, primero, que lo que caracteriza la pintura holandesa del siglo de oro, según Fromentin, no tiene que ver con la interpretación de la pintura neerlandesa por Hegel, sino con su visión de esta pintura como una transcripción ajena a cualquier consideración moral, emocional o intelectual. Mostramos, después, que la manera como la pintura neerlandesa del siglo xvii representa la guerra contribuye a la construcción de la identidad y de la conciencia nacional de los holandeses a través de una iconografía (...) propagandística. Por último, examinamos el estatuto del sentido moral en la pintura holandesa y nos preguntamos: ¿qué nos dicen las pinturas de género? ¿De qué nos hablan? (shrink)

La actitud que asume Descartes con respecto a la historia es inseparable del desmoronamiento del cosmos de Aristóteles y Santo Tomás a fines del siglo XIII, y del profundo sentimiento de soledad que sobrecoge al hombre. Lejos de reflejar la fuerza de un pensamiento seguro del poder de su pensar, la modernidad de Descartes traduce la contingencia y la soledad radical de una subjetividad que experimenta en su nuevo poder-pensar la impotencia del pensamiento para fundarse a sí mismo en el (...) ejercicio discontinuo de lo que define al hombre, el cogito. (shrink)

La analogía que existe entre algunos textos de San Agustín y de Descartes es el indicio de un profundo parentezco, a saber, la presencia inmediata del alma a sí misma, la sustancialidad del alma y la distinción del alma y del cuerpo. Este parentezco permite plantear el problema del conocimiento inmediato del alma por sí misma en San Agustín y Descartes, por una parte, y el problema del conocimiento reflexivo del alma en Santo Tomás, por otra parte, como dos teorías (...) irreconciliables. (shrink)

La homogeneidad de la Naturaleza, concebida como un todo racional y la universalidad del método se implican en Spinoza. Del principio de la unidad de la sustancia, o sea de la unidad de la Naturaleza tomada como natura naturans y natura naturata, se sigue que no puede existir un método que preceda al conocimiento filosófico. Ahora, si el carácter indisociable de la filosofía y del mos geometricus es efectivo, se debe a la total inteligibilidad para el hombre de la esencia (...) de Dios y de las cosas, ya que de ella se sigue que el conocimiento verdadero, es decir, adecuado, procede del todo a las partes. Con Spinoza, el racionalismo absoluto quiere acabar con el misterio que rodea la razón o que le subyace, misterio que hacía afirmar a Descartes en su tercera meditación que “es propio de la naturaleza de lo infinito que yo,siendo finito, no pueda comprenderlo”. La filosofía de Spinoza se presenta como un intelectualismo íntegro, una doctrina de la necesidad y de la libertad. Mas, podemos preguntarnos: ¿no hay aquí una contradicción entre necesidad y libertad? ¿Será que la filosofía de Spinoza es incoherente? O, dicho en otros términos, ¿es posible para el hombre actuar dentro de un determinismo tan estricto? (shrink)

Cuando en el horizonte de un seminario truncado por la muerte sobre el artículo de Kant: ¿Qué es la Ilustración? Habermas plantea el problema de la modernidad en terminos de las conciencia de la discontinuidad del tiempo. Foucault lo hace en terminos del Ethos, reanudando así una vieja tradición que se enraiza en Aristóteles y Teofrasto, y que culmina, de alguna manera, en La Bruyère.

Archéologie d'un même geste d'exclusion dont l'internement social de la folie et l'internement métaphysique de la déraison sont les effets, l'Histoire de la folie à l'âge classique décide de voir en Descartes le théoricien de cet acte violent de fondation de la raison occidentale. Après avoir exposé la polémique Foucault — Derrida, nous nous proposons, d'une part, d'identifier la « positivité » propre au discours foucaldien de la période « archéologique » et, d'autre part, de reprendre à notre compte la (...) lecture de Descartes. Nous espérons alors montrer que le « coup de force » cartésien ne vise nullement à exclure la folie mais, au contraire, à forger rationnellement la fiction d'un monde qui serait sans ordre. Le monde sensible devient le lieu d'un simulacre, et ce qui le rend fascinant c'est la catastrophe imaginaire qu'il y a derrière, savoir la nature peut-être irrationnelle de l'univers. C'est de la nécessité de cette fiction que le sujet pensant va pouvoir émerger comme le lieu de la critique.Being an archeology which, in a single excluding movement, produces the social confinement of madness and the metaphysical confinement of un-reason, The History of Madness in the Classical Age decides to see in Descartes the theoretician of this violent act of foundation of Western reason. After a presentation of the Foucault — Derrida polemic, the attempt is made, on the one hand, to identify the "positivity" proper to the Foucauldian discourse of the "archeological" period and, on the other hand, to re-read Descartes in a new light. One hopes to show that the Cartesian "revolution" in no way attempts to exclude madness but, on the contrary, to forge rationally the fiction of a world which would be without order. The sense world becomes the world of appearances, and what makes it fascinating is the imaginary catastrophe behind it, the knowledge of theperhaps irrational nature of the universe. It is by the necessity of this fiction that the thinking subject is going to be able to emerge as the place where the critique occurs. (shrink)

Tanto le debo a Lelio Fernández... La enumeración incompleta de esa deuda me lleva a mis años de filosofía en Cali, Colombia, de 1985 a 1989. En sus clases, gracias al placer por la lectura en detalle, Lelio contagiaba con la emoción de querer entender; lograba conectarnos con la historia de la cultura sin desplegar ninguna ayuda “audio-visual”; transmitía su deseo de estar siempre saboreando las obras de Baruch Spinoza (1632‒1677) y de Jorge Luis Borges (1899‒1986); se limitaba a sentarse (...) detrás de un escritorio en los salones de clase, hablando bajo y con precisión y con emoción contenida; era necesario llegar casi dos horas antes a ese salón de clase en la Universidad del Valle para no estar obligado a medio-escuchar sus pensamientos en el corredor; me ayudó en la traducción de los apartes en latín, y aún no publicados en castellano, que Umberto Eco (1932‒2016) incluyó en El nombre de la rosa; y tradujo al castellano, con Jean-Paul Margot, el Breve tratado de la reforma del entendimiento también de Spinoza. (shrink)

Miller synthesizes Karen Horney's model of submission, aggression and withdrawal, Jean Baker Miller's concept of relational being, Julia Kristeva's idea of psychic space, and Kelly Oliver's notions on social support to advance a penetrating analysis of the fiction of Paule Constant.

Resumen El concepto de scientia plasmado en la obra de Guillermo de Ockham considera, en primer lugar, la teoría de la suposición, la cual transforma la visión del conocimiento evidente a partir del examen de términos y proposiciones como signos de las cosas. En segundo lugar, el conocimiento intuitivo de los singulares, el cual posibilita la formulación de proposiciones necesarias que describen hechos y estados de cosas. En tercer lugar, una perspectiva lógica de scientia como conjuntos de proposiciones que configuran (...) las distintas ciencias.The concept of scientia established in William of Ockham's work considers firstly, the theory of supposition, which transforms the view of the evident knowledge based on the analysis of terms and propositions as signs of things. Secondly, the intuitive knowledge of singulars, which allows the formulation of necessary propositions that describe facts and state of affairs. Thirdly, a logical approach of science as set of propositions that configure the different sciences. (shrink)

Jean-Paul Sartre's famous autobiography of his first ten years has been widely compared to Rousseau's Confessions. Written when he was fifty-nine years old, The Words is a masterpiece of self-analysis. Sartre the philosopher, novelist and playwright brings to his own childhood the same rigor of honesty and insight he applied so brilliantly to other authors. Born into a gentle, book-loving family and raised by a widowed mother and doting grandparents, he had a childhood which might be described as (...) one long love affair with the printed word. The Words explores and evaluates the whole use of books and language in human experience. (shrink)

In three interviews, the Marxist historian and scholar Perry Anderson takes Sartre on a wide-ranging tour of his philosophy and politics.

The writings published here are not so much an epitome as episodes. But most do not digress. They mark the turns and turning points of a human style, the tropes of an expressive life embodying the changing tempos of an age. Until we fall silent, all of us are trying to say. These fragmentary efforts to speak to, rejoin, and help create a new community of liberated human beings constitute the epigraphs of Sartre's historical inscription.

It was to correct common misconceptions about his thought that Jean-Paul Sartre, the most dominent European intellectual of the post-World War II decades, accepted an invitation to speak on October 29, 1945, at the Club Maintenant in Paris. The unstated objective of his lecture was to expound his philosophy as a form of “existentialism,” a term much bandied about at the time. Sartre asserted that existentialism was essentially a doctrine for philosophers, though, ironically, he was about to make (...) it accessible to a general audience. The published text of his lecture quickly became one of the bibles of existentialism and made Sartre an international celebrity. The idea of freedom occupies the center of Sartre’s doctrine. Man, born into an empty, godless universe, is nothing to begin with. He creates his essence—his self, his being—through the choices he freely makes. Were it not for the contingency of his death, he would never end. Choosing to be this or that is to affirm the value of what we choose. In choosing, therefore, we commit not only ourselves but all of mankind. This book presents a new English translation of Sartre’s 1945 lecture and his analysis of Camus’s _The Stranger_, along with a discussion of these works by acclaimed Sartre biographer Annie Cohen-Solal. This edition is a translation of the 1996 French edition, which includes Arlette Elkaïm-Sartre’s introduction and a Q&A with Sartre about his lecture. (shrink)

Jean-Paul Sartre is one of the most famous philosophers of the twentieth century. The principal founder of existentialism, a political thinker and famous novelist and dramatist, his work has exerted enormous influence in philosophy, literature, politics and cultural studies. Jean-Paul Sartre: Basic Writings is the first collection of Sartre's key philosophical writings and provides an indispensable resource for readers of his work. Stephen Priest's clear and helpful introductions make the volume an ideal companion to those coming (...) to Sartre's writing for the first time. (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)

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)

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)

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)

It was to correct common misconceptions about his thought that Jean-Paul Sartre, the most dominent European intellectual of the post-World War II decades, accepted an invitation to speak on October 29, 1945, at the Club Maintenant in Paris. The unstated objective of his lecture (“Existentialism Is a Humanism”) was to expound his philosophy as a form of “existentialism,” a term much bandied about at the time. Sartre asserted that existentialism was essentially a doctrine for philosophers, though, ironically, he (...) was about to make it accessible to a general audience. The published text of his lecture quickly became one of the bibles of existentialism and made Sartre an international celebrity. The idea of freedom occupies the center of Sartre’s doctrine. Man, born into an empty, godless universe, is nothing to begin with. He creates his essence—his self, his being—through the choices he freely makes (“existence precedes essence”). Were it not for the contingency of his death, he would never end. Choosing to be this or that is to affirm the value of what we choose. In choosing, therefore, we commit not only ourselves but all of mankind. This book presents a new English translation of Sartre’s 1945 lecture and his analysis of Camus’s _The Stranger_, along with a discussion of these works by acclaimed Sartre biographer Annie Cohen-Solal. This edition is a translation of the 1996 French edition, which includes Arlette Elkaïm-Sartre’s introduction and a Q&A with Sartre about his lecture. (shrink)

First published in 1972. Routledge is an imprint of Taylor & Francis, an informa company.

Sartre explains the theory of existential psychoanalysis in this treatise on human reality.

This article examines the legitimization process of the public health preventive measures implemented in many Western countries following the SARS-CoV-2 outbreak. Through concepts such as governmentality, disciplinarization and security mechanisms proposed by Foucault, we trace some of the basic principles and implications of the relationship between biopower and medicine, as well as the media dissemination of an official narrative on scientific truth. These reflections are complemented by the contributions of Francois Lyotard and Jean Baudrillard. Lyotard reflects on the relationship (...) between science and a “performative game”, whose own staging is the core of its criteria of truth. Baudrillard shows the relevance of a “hyperreality” in which the signs presented by the media take precedence over the experience of the subjects. We argue that a mediatized version of science, defined through a strong disciplinarization of knowledge and the censorship of dissident voices, played a key role in the establishment of consensus and the legitimization of policies that granted extraordinary power to governments and transnational elites. Although the work of Foucault in this demonstration is essential, the contributions of Lyotard and Baudrillard provide additional elements to understand a fundamental problem: the public acceptance of “truth” as an instrument of governmentality on a global scale. (shrink)

As part of an article symposium on Partha Dasgupta and Sanjeev Goyal’s “Narrow Identities”, Jean-Paul Carvalho reflects on the concept of narrow identity and the ways of modelling its emergence.

This unique selection presents the essential elements of Sartre's lifework -- organized systematically and made available in one volume for the first time in any language.

Jean-Paul Sartre was one of the most important philosophical and political thinkers of the twentieth century. His writings had a potency that was irresistible to the intellectual scene that swept post-war Europe, and have left a vital inheritance to contemporary thought. The central tenet of the Existentialist movement which he helped to found, whereby God is replaced by an ethical self, proved hugely attractive to a generation that had seen the horrors of Nazism, and provoked a revolution in (...) post-war thought and literature. In _What is Literature?_ Sartre the novelist and Sartre the philosopher combine to address the phenomenon of literature, exploring why we read, and why we write. (shrink)

El objetivo de este artículo es abordar el reciente problema del nexo entre realismo y fenomenología hermenéutica desde un enfoque específico: el diálogo entre el nuevo realismo de Markus Gabriel y algunas propuestas hermenéutico-fenomenológicas alemanas que se autocomprenden en términos realistas. Afirmo la hipótesis de que es posible un diálogo productivo entre estas propuestas, basado en una comprensión mínima del realismo como fundamentación ontológica viable. Para esto, en primer lugar mostraré el sentido del actual resurgimiento del realismo en el contexto (...) de la ontología continental contemporánea, situando su recepción, crítica e integración a propósito del ámbito de la fenomenología y hermenéutica recientes. En segundo lugar, analizaré la propuesta de nuevo realismo, que está implicada en la ontología de campos de sentido de M. Gabriel. Y, en tercer lugar, reseñaré las propuestas de Günter Figal, Anton Friedrich Koch y Tobias Keiling en su fundamento realista. Mediante este trabajo comparativo, concluiré afirmando que el diálogo entre ambas corrientes comparte una comprensión realista no reductiva a la cuestión del mundo exterior, que le permite entenderlo como búsqueda de cierto criterio de objetividad para lo que aparece sensiblemente con sentido, con el propósito de esclarecer por qué las cosas reales son dependientes de la interpretación (interpretables en general), pero independientes de interpretaciones individuales. (shrink)

This chapter contains section titled: “The Look”.

This paper examines language practices in two services offered in the main Catholic Church in the town of Sangmelima in the South region of Cameroon. The research is motivated by the need to find out what languages are used in this church and what the terms “French service” and “Bulu service” imply in the multilingual city of Sangmelima. The informants were the priests, catechists, choir leaders, and some parishioners of this church. Three main instruments were used to collect data in (...) these two church services, i.e., interview, questionnaire and participant observation. The frame adopted for the analysis was Kouega’s structural-functional approach (2008). The findings revealed that the services in this church include 28 parts. In the French service, the languages used to realise these parts were found to be French, Bulu (Sangmelima), Ewondo (Yaounde), Fang (south of Cameroon and north of Equatorial Guinea), Fe’efe’e (Bafang), Ghomala’ (Bafoussam), and Medumba (Bangangte). In the Bulu service, on the other hand, the languages used were: Bulu (Sangmelima), Ewondo (Yaounde), and French. These languages were chosen for a variety of reasons. First, a language like Bulu was chosen because it is understood by the parishioners as it is the main language of the locality. Second, French is the official language of the territory; third, some languages like Fe’efe’e, Ghomala, and Medumba were chosen on the basis of the involvement of the speakers of these ethnic languages in the activities of the church. Fourth, the availability of printed religious materials in a language was an important factor. (shrink)

_Critical Essays _ contains essays on literature and philosophy from a highly formative period of French philosopher and leading existentialist Jean-Paul Sartre’s life, the years between 1938 and 1946. This period is particularly interesting because it is before Sartre published the magnum opus that would solidify his name as a philosopher, _Being and Nothingness_. Instead, during this time Sartre was emerging as one of France’s most promising young novelists and playwrights—he had already published _Nausea, The Age of Reason, (...) The Flies, _and_ No Exit_. Not content, however, he was meanwhile consciously attempting to revive the form of the essay via detailed examinations of writers who were to become central to European cultural life in the immediate aftermath of World War II. Collected here are Sartre’s experiments in reimagining the idea and structure of the essay. Among the distinguished writers he analyzes are Francis Ponge, Georges Bataille, Vladimir Nabokov, Maurice Blanchot, and, of course, Albert Camus, whose novel _The Stranger _Sartre endeavours to explain in these pages. _Critical Essays _ also contains a famous attack on the Catholic novelist François Mauriac, studies of the great American literary iconoclasts Faulkner and Dos Passos, and brief but insightful essays on aspects of the philosophical writings of Husserl and Descartes. This new translation by Chris Turner reinvigorates the original skill and voice of Sartre’s work and will be essential reading for fans of Sartre and the many writers and works he explores. “For my generation he has always been one of the great intellectual heroes of the twentieth century, a man whose insight and intellectual gifts were at the service of nearly every progressive cause of our time.”—Edward Said. (shrink)