Résumé En liant le mal et l’incompréhension, l’identité du sujet et l’éthique, nous voulons montrer les limites de l’autonomie pure. L’humain baigne dans des influences extérieures de sorte qu’il est toujours pris dans un dialogue soit transcendant, soit immanent ou encore extérieur. L’humain est l’être qui est témoin de ces forces. Il est un être attentif, un être ouvert à l’altérité, un être à l’écoute de ce qui le porte : la créativité.By linking evil and misunderstanding, the identity of the (...) subject and ethics, we intend to bring out the limits of pure autonomy. Human beings are affected by external influences on all sides, so much so that they are invariably involved in dialogues which are either transcendent, internal or external. Humans are aware of those forces. They are awake, open to otherness, all attentive to what carries them through : creativity. (shrink)

Today, the frequency and the rate of success resulting from advances in medicine have made organ transplantations an everyday occurrence. Still, organ transplantations and donations modify the subjective experience of human beings as regards the image they have of themselves, of body, of life and of death. If the concern of the quality of life and the survival of the patients is a completely human phenomenon, the fact remains that the possibility of organ transplantation and its justification depend a great (...) deal on the culture in which we live. The exploration of the philosophical tradition allows for a reconsideration of organ transplantation. If we listen to people who have experienced the decline of one of their organs and their own rebirth through the organ of someone else, we arrive at the conclusion that they went through an extreme experience in which nothing appeared as before. All those experiences intensify philosophical questionings on the meaning of life with respect to self fulfilment. The concept of nature as the experience of others can be an authentic source from which to nourish our thoughts about organ transplantation. However, and this is our hypothesis, we need something more if we are to decide something about our own life. We need a hermeneutical stance in relation to ourselves and to our world. Philosophical counselling, as a long established tradition originating with Pythagoras and later reframed by the German philosopher Achenbach could be useful in inspiring a reflection on the good life, chiefly as it takes the form of a Socratic dialogue. (shrink)

Entre les postes et le mouvement analytique, le principe de plaisir et l'histoire des télécommunications, la carte postale et la lettre volée, bref le transfert de Socrate à Freud, et au-delà. Cette satire de la littérature épistolaire devait être farcie - d'adresses, de codes postaux, de missives cryptées, de lettres anonymes, le tout confié à tant de modes, de genres et de tons.

Presents both versions of the screenplay John Huston commissioned Sartre to write about Freud and discusses the background of the work.

The President of the European Bank for Reconstruction and Development examines three major ethical problems in the transition from post‐Communist Europe to a market economy and spells out the only real option for Western Europe. He delivered this address, which is reprinted with permission, at a Conference on Business and Moral Standards in Post Communist Europe held in London in November last year under the auspices of the Archdiocese of Westminster and sponsored by the Sedgwick Group and KPMG Peat Marwick.

"The four essays in this volume constitute Derrida's most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and (...) aesthetics."--Alexander Gelley, Library Journal. (shrink)

Les analyses leibniziennes de la signification et de la fonction des notions abstraites et concrètes permettent de distinguer deux modes de connaissance: celui de la Science ou Philosophie et celui de l'Histoire, dont les réferents ne peuvent pas se réduire l'un à l'autre, ou être subsumés sous un concept unique de la vérité. Cette duplicité de perspectives constitue la plus grande difficulté du système leibnizien, à tel point qu'elle à même été présentée comme un hysteron-próteron insoluble. Elle disparait cependant, si (...) l'on considère que la perspective scientifique propre aux vérités de raison constitue seulement un système ou jeu de langage qui permet, dans les énoncés, de substituer des relations logiques aux relations gnoséologiques. A partir de cette constatation, le problème de la possibilité d'une connaissance scientifique de la realité consiste dans la reconstruction par hypothèse d'une forme de nécessité, que les énoncés de fait n'offrent par eux-mêmes, mais que le progrès de l'histoire garantie par une vérification successive. (shrink)

This text proposes an evaluation of what remains of cinema in the age of the digital, and of an ever increased circulation between movie theatres and museums. Much has changed in the social and aesthetic status of cinema, at least since the appearance of video art; but cinema, in general, has not disappeared, quite to the contrary, and remains a very important social practice. Two important factors, however, have undergone deep changes: 1°, film no longer has the exclusivity of the (...) moving image, which it has to share with television and contemporary art; 2°, the recent hegemony of the digital image has driven film toward a massive return to the “Méliès path” of film art, that of a direct intervention on the film image. The contention here is that, though the art of film is obviously not what it was, it has kept a number of qualities which still make it the positive reference for any thinking of the moving image in general. The article puts forward three kinds of reasons to support this argument: 1°, cinema has invented a specific way to see moving images, resting on what is termed here the production of a gaze; 2°, time is essential to the film form itself; 3°, film is the only art which has developed an aesthetic of the encounter (with the real) – and the co-presence of these three ranges of value remain absolutely specific. (shrink)

"The cinema is, as a photographic medium, an art form of light. But the mastery of lightning and the 'dark' side of his rhizomatic, interactive net have led very early to the configuration of shade and shadow and refer, ergo, to something which is perpetually related to all forms of figurative art. To film, 'night' means, however, something different, as it brings the configuration of the skies in a state of darkness with it. This is in disagreement with his usual (...) depiction. It entails embarking on a singular figurative project, which approximates a contradiction in itself. This project demonstrates the autonomy of the configuration process precisely through this contradiction.". (shrink)

This text proposes an evaluation of what remains of cinema in the age of the digital, and of an ever increased circulation between movie theatres and museums. Much has changed in the social and aesthetic status of cinema, at least since the appearance of video art; but cinema, in general, has not disappeared, quite to the contrary, and remains a very important social practice. Two important factors, however, have undergone deep changes: 1°, film no longer has the exclusivity of the (...) moving image, which it has to share with television and contemporary art; 2°, the recent hegemony of the digital image has driven film toward a massive return to the “Méliès path” of film art, that of a direct intervention on the film image. The contention here is that, though the art of film is obviously not what it was, it has kept a number of qualities which still make it the positive reference for any thinking of the moving image in general. The article puts forward three kinds of reasons to support this argument: 1°, cinema has invented a specific way to see moving images, resting on what is termed here the production of a gaze; 2°, time is essential to the film form itself; 3°, film is the only art which has developed an aesthetic of the encounter (with the real) – and the co-presence of these three ranges of value remain absolutely specific. (shrink)

This volume brings together four of Jacques Derrida's essays on Maurice Blanchot's fictions: "Pace Not(s)," "Living on," "Title To Be Specified," and "The Law of Genre.".

"I shall speak of ghost, of flame, and of ashes." These are the first words of Jacques Derrida's lecture on Heidegger. It is again a question of Nazism--of what remains to be thought through of Nazism in general and of Heidegger's Nazism in particular. It is also "politics of spirit" which at the time people thought--they still want to today--to oppose to the inhuman. "Derrida's ruminations should intrigue anyone interested in Post-Structuralism. . . . . This study of Heidegger (...) is a fine example of how Derrida can make readers of philosophical texts notice difficult problems in almost imperceptible details of those texts."--David Hoy, London Review of Books "Will a more important book on Heidegger appear in our time? No, not unless Derrida continues to think and write in his spirit. . . . Let there be no mistake: this is not merely a brilliant book on Heidegger, it is thinking in the grand style."--David Farrell Krell, Research in Phenomenology "The analysis of Heidegger is brilliant, provocative, elusive."--Peter C. Hodgson, Religious Studies Review. (shrink)

This volume is a collection of twenty-three interviews given over the last two decades. It illustrates the extraordinary breadth of Derrida's concerns, touching upon such subjects as the teaching of philosophy, sexual difference and feminine identity, the media, AIDS, language and translation, nationalism, politics, and Derrida's early life and the history of his writings. Often, as in the interviews on Heidegger, on drugs, or on the nature of poetry, these interviews offer something available nowhere else in his work. The informality (...) of the interview process frequently leads to the most succinct and lucid explications of many of the most important and influential aspects of Derrida's thought. Sixteen of the interviews appear in English for the first time, including an interview conducted especially for this volume, concerning the recent exchange of letters in the New York Review of Books. (shrink)

The animal that therefore I am (more to follow) -- But as for me, who am I (following)? -- And say the animal responded -- I don't know why we are doing this.

This brings together five pieces written by Jacques Derrida as extended lectures. The most important theme is Derrida's redefinition of speech acts and the 'event' as a particular kind of performative. The effects of globalization and mechanization, along with arising issues, provide a second constellation of themes. The first four essays involve a specific act of speech: the lie, the excuse, perjury and profession. The last two essays continue Derrida's powerful series of meditations on professional and institutional questions. The (...) final essay, 'Psychoanalysis Searches the States of Its Soul', confronts the task facing psychoanalysis today: coming to terms in new ways with worldwide cruelty and accommodating itself to the modern juridical concepts of crime against humanity. The phrase 'without alibi' (alibi, of course, being another speech act) is used throughout the essay as a leitmotif indicating that the responsibility psychoanalysis has to respond to globalization cannot be evaded. (shrink)

Recorded in Ithaca, NY by Cornell University., Sponsored by: Andrew D. White Professors-At-Large Program., Speaker: Professor of the History of Philosophy, Ecole des Hautes Etudes en Sciences Sociales, Paris, Andrew D. White Professor-at-Large., Lecture, October 3, 1988.

Cet article s'intitule « Le monde du vécu chez Edmund Husserl » mais ce qui a été traduit peut-être maladroitement par « monde du vécu » dans ce titre, c'est l'expression allemande Lebenswelt qui pourrait tout aussi bien être traduite en français par les termes « monde vécu », « monde de la vie » ou « monde concret ».Cette notion est au cœur des problématiques du dernier Husserl, c'est-à-dire de l'auteur de « La crise des sciences européennes et la (...) phénoménologie transcendantale » et des écrits connexes à cette œuvre magistrale qui date de 1935–1936, entre autres « L'origine de la géométrie » et « Expérience et jugement ». (shrink)