Avec trois entretiens de Jean-Luc Nancy Cosa volante : l'art n'est ni un objet, ni un ensemble de composantes formelles, encore moins schème et substance. L'art les arts plutôt, dans leur pluralité différentielle élève la question d'une forme en formation. Cette forma formans traverse de part en part la pensée des arts de Jean-Luc Nancy où importe surtout l'approche de ce qui, dans l'art, fait sens (sensibilité, intelligence, sensation, sensualité). A travers touches, intensités, vibrations, timbres, tonalités, colorations, grains, (...) résonances, rythmes, il s'agit de voir comment les arts donnent forme au monde. Cet ouvrage explore plusieurs motifs du travail de Nancy : sa réflexion sur l'iconologie "chrétienne" au sein de sa "déconstruction du christianisme", la question de ses "étranges corps étrangers", les modalités de ses ekphraseis, sa poétique cinétique, entre autres. Trois entretiens avec le philosophe constituent des moments privilégiés de cet échange autour de la question de l'art. (shrink)

Autour de la grande conference de Jacques Derrida, intitulee Justices, prononcee en 2003 et demeuree inedite en francais a ce jour, cet ouvrage collectif convoque certains des meilleurs specialistes de son oeuvre. Il s'agit moins ici de commemorer ou de dresser un etat des lieux que de penser, a partir de Derrida et avec lui, ce qui vient et de repondre a l'appel, aux appels pluriels qui resonnent dans son travail philosophique. Sont ainsi examines les principaux legs de sa pensee (...) dans les differents domaines (philosophie, politique, science des religions, esthetique, litterature) qu'elle a profondement transformes. Autant de reponses et de responsabilites, autant de provocations a lire et a relire l'oeuvre de Jacques Derrida a sa hauteur, comme elle nous y engage toujours. Avec les textes de: Gil Anidjar, Philip Armstrong, Fernanda Bernardo, Mireille Calle-Gruber, Danielle Cohen-Levinas, Gianfranco Dalmasso, Francoise Dastur, Jacques Derrida, Silvano Facioni, Edoardo Ferrario, Jerome Lebre, Georges Leroux, Michel Lisse, Rene Major, Marie-Louise Mallet, Serge Margel, Joana Maso, Ginette Michaud, J. Hillis Miller, Raoul Moati, Jean-Luc Nancy, Evando Nascimento, Francois Nault, Laura Odello, Jean-Michel Rabate, Marta Segarra, Peter Szendy, Chantal Talagrand, Francesco Vitale et Hent de Vries. (shrink)

Educational authority is an issue in contemporary democracies. Surprisingly, little attention has been given to the problem of authority in Jean-Jacques Rousseau's Emile and his work has not been addressed in the contemporary debate on the issue of authority in democratic education. Olivier Michaud's goals are, first, to address both of these oversights by offering an original reading of the problem of authority in Emile and then to rehabilitate the notion of “educational authority” for democratic educators today. Contrary (...) to progressive readings of Emile, he argues, Rousseau's position on this issue is not reducible to “education against authority.” What appears at first glance to be an education against authority is, in a deeper sense, an education toward and even within authority. Michaud contends that we have to embrace these complexities and contradictions that inform Rousseau's work in order to gain insights into the place and role of authority in democratic education. Michaud sheds light on Rousseau's stance on authority through a close study of specific topics addressed in Emile, including negative education, opinion, one's relation to God, friendship and loving relationships, and, finally, the relation Rousseau established with his reader. (shrink)

Pour yourself glass of Three Wizard's Chardonnay, Winkle's Old Peculiar, or Soggy Mountain Dew, pull up a three-legged chair, and for Om's sake, stay out of the bathtub! Keep and eye open for the octarine flashes that would indicate magic is trying to escape from the pages and be ready to grab something made of copper in order to ground uncontrolled magic without harmful incident (Some would Consider the Copper Safeguard Unnecessary) You are now ready to dive into Discworld and (...) Philosophy and join a group of philosophical Discworld fans as they explore truth, history, death, luck, morality, and reality in the magical inverse of the Disc. (shrink)

This chapter deals with one of the common fallacies in Western philosophy, inappropriate appeal to authority (IAA). IAA has many different facets. At its core, it is a fallacy that assumes that because someone is an authority, we should listen to that person. The problem with IAA is that it ignores content in favor of credentials and power. There are a few different ways in which IAA can occur. IAA seems to be the result of a flaw in human thinking. (...) Social cognitive theory, a theory that helps explain human action, notes that humans tend to act like each other. The tendency to listen to authorities who are not authorities explains why celebrities are able to sell us stuff. The important thing to remember about IAA is that it is not just a fallacy that comes up in arguments that do not matter. (shrink)

The literature on the Cambridge Platonists abounds with references to Neoplatonism and the Alexandrian Fathers on general themes of philosophical and theological methodology. The specific theme of the spiritual senses of the soul has received scant attention however, to the detriment of our understanding of their place in this important tradition of Christian speculation. Thus, while much attention has been paid to the clear influence of Plotinus and the Florentine Academy, far less has been given to important theological figures that (...) also form a vital part of the tradition the Cambridge Platonists find irresistible. Similarly, scholarship on the spiritual senses has tended to ignore early modern Protestant developments in this tradition focusing instead on patristic, medieval, and later modern figures. In response to these oversights, the present chapter provides a close reading and analysis of the reception and modification of Origen of Alexandria’s (185-252) doctrine of the spiritual senses in the “Discourse on the True Way or Method of Attaining to Divine Knowledge” by the Cambridge Platonist, John Smith (1618-1652). Although Smith accepted much of the doctrine as he found it in Origen his allegiance to modern notions of methodology, derived especially from Descartes, as well as his Protestantism, made taking the doctrine on authority or antiquity alone unacceptable. Smith therefore offered his own case for the spiritual senses, at once intentionally mimicking the Alexandrian’s interpretive synthesis of Platonism and Scripture (“Origen as model”) and echoing Origen’s own words (“Origen as source”). Whereas Origen made spiritual sensibility intelligible by means of Middle Platonic thought, Smith’s Neoplatonism provided the conceptual tools needed to make sense of biblical passages without suggesting a merely metaphorical meaning for sensory language concerning the awareness of spiritual realities. In this way, both tradition and innovation guide Smith’s reformulation of the doctrine of the spiritual senses. In addition to demonstrating Smith’s debt to patristic thought, this chapter also discusses his influence on such leading figures in modern theology as John Wesley (1703-1791) and Jonathan Edwards (1703-1758). The chapter thus presents an important moment in the development of Christian speculation about the spiritual senses that begins to bridge scholarship on the Patristic and Enlightenment periods. (shrink)

Les institutions - et en premier lieu l'Eglise - où s'exprimait et se vivait l'expérience du sacré se sont peu à peu effritées. Mais le sacré déborde le cadre des institutions et il en reste des vestiges, entre autres, dans la littérature. C'est dans l'oeuvre de Cioran que Sara Danièle Bélanger Michaud les a cherchés. Emil Michel Cioran (1911 - 1995) est un philosophe et essayiste d'origine roumaine qui a vécu en France à partir de 1937. Il est principalement (...) connu pour ses aphorismes et pour son recueil De l'inconvénient d'être né, paru en 1973. Dans son essai, l'auteure présente son oeuvre comme une manifestation de la quête du sacré et une nouvelle manière de l'habiter. Elle écrit : " Qu'il soit question de sa quête spirituelle (ou de son ratage spirituel), de ses rencontres avec l'absolu, de ses expériences d'extase, de son obsession pour le doute ou encore de sa nature religieuse à rebours, c'est toujours en même temps du sacré dont il est question ". (shrink)

Il y a chez Habermas un déplacement de l'idée de critique, qui le mène de la nostalgie des Lumières à l'acceptation de l'idée de démocratie radicale malgré ses imperfections. Ce déplacement tient à l'échec admis et reconnu des démarches transcendantales. Il demeure un espace public d'interaction, de négociation et d'ajustements. Il y a, en ce sens, une sorte de fatalisme démocratique. C'est à l'extérieur de l' espace public ainsi redéfini que doivent maintenant se reporter des questions comme : Qu'en est-il (...) du sort des exclus de la communication, de ceux qui n'accèdent pas à l' espace public ou demeurent confinés dans leur espace reclus ou maintenu en situation de « ségrégation »? Il y aurait donc à compléter la réflexion de Habermas dans deux directions : du côté d'une exploration du rôle du malentendu, de la mésentente, et de l' « inintelligence » dans la communication démocratique radicale ; du côté aussi d'une étude de la violence comme expression et effort pour entrer dans la communication. Des ajouts de cette sorte ne remettraient cependant pas en cause une pensée qui a déjà intégré les distorsions et les défis à la communication au sein de sa conception de la communication. Habermas' concept of « critique » has undergone important changes since his earlier book on public space. He moved from a nostalgia of the ideal and radical criticism of the Aufklärung to the acceptance of radical democracy whatever its imperfections. These changes came with Habermas' gradual admission that his transcendental program could not be completed. There is only room left for a public space made of interactions, bargaining processes and imperfect adjustments. Democracy is, so to speak, a fatality. This renewed concept of a public space is the framework within which one major issue should be raised : how to make sense of the fact that many are excluded from the communicating process or kept in a minority position? Habermas' reflection should then be implemented in two directions : 1 / What part do misunderstandings, dissensions, conflicts, communication breakdowns, play in democratic communication? 2 / What is the function of violence as an expression and effort at getting into the communication process? For all that, these additions would by no means weaken Habermas' thought since he now clearly takes into account distorsions in communication and failures. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy, 'intentional fallacy (IF)'. The IF is an odd kind of fallacy. Rather than being a fallacy focused on logic and argumentation, it is a fallacy that focuses on art, relating to how we judge art and engage in literary criticism. The IF focuses on the fact that we often think that there is one right interpretation of a work of art. According to David Fenner, the IF “states that (...) we do not need to know, nor can we on most occasions, what was in the mind of the artist in order to interpret the art work”. So, it seems unreasonable to use the artist's intention as the most important way to understand a work of art as the artist's intention is often unavailable. The IF is an error in art interpretation that causes us to realize important things about art. (shrink)

Le constat est maintenant partout: la puissance du fondamentalisme religieux, la montee des populismes de droite comme de gauche, le discredit de la classe politique, le rejet de la construction europeenne, rendent caducs les schemas anciens. En particulier l'idee que la democratie, a force de bienveillance, peut tolerer toutes les differences, toutes les croyances. Oui! Il y a des croyances insupportables et intolerables. Non! Le populisme n'est pas une illusion qui se dissipera d'elle-meme avec un peu de pedagogie et de (...) bonne volonte. Non! La politique internationale n'obeit pas aux chartes du droit international. Il faut denoncer la tyrannie des bons sentiments, la politique de l'emotion et de la compassion. Non que la bienveillance soit un sentiment indigne, mais nous devons cesser de croire qu'on peut batir sur elle une communaute politique. (shrink)

"La poétique de Celan- a profondément incisé la réflexion de Derrida, lui devenant indispensable pour repenser les questions de la date, de la crypte et du secret. De Schibboleth à Béliers et à son dernier séminaire, La bête et le souverain, Derrida s'est aussi intéressé au poème celanien comme lieu d'une souveraine solitude, d'une souveraineté autre, peut-être, quand il parle de lui-même. Cet essai tente d'analyser la portée du deuil et de la dette contractée par le philosophe à l'endroit du (...) poète. De la rencontre entre Celan et Derrida, nulle archive ne saura témoigner. Le verbe "témoigner" évoque une sorte de mot de passe secret entre eux : "Niemand/ zeugt für den/ Zeugen" et "Die Welt ist fort, ich muss dicte tragen". Ces deux vers, Jacques Derrida incitait ses lecteurs à les apprendre par coeur pour deux raisons : d'abord, pour méditer sans fin le rapport à la langue, à l'idiome plutôt, de Celan, creusant, enibuissant, retournant sa langue dans la langue allemande ; ensuite, pour mesurer relever, dit Derrida la nécessaire et impossible épreuve de la traduction, cette question qui est non seulement l'un des enjeux les plus importants de la "déconstruction" mais aussi le foyer d'une éthique de la lecture."--Page 4 of cover. (shrink)

This chapter contains sections titled: Nice Tattoo What is Art? Art World Theory: Art is Participation in the Art World Formalism: Art is the Result of Formal Properties Working Together Expressionism: Art Elicits an Emotional Response from the Viewer What Do These Theories Accomplish for Tattoos? Tattoos as Performance Art The Human Canvas Tattoos, Mortality, and Deep Meaning.

This chapter focuses on one of the common fallacies in Western philosophy: appeal to tradition (ATT). ATT means to ignore the evidence that we should change because we have been doing something for a long time. ATTs are tremendously useful fallacies. ATTs hinge on sentimental tendencies and unwillingness to change, and are particularly dangerous when they prevents change. ATT seems to suggest that there is something good about tradition that trumps any other concerns. The problem is that since tradition has (...) nothing to do with morality, it is really easy for ATT to be used to justify anything, from continuing to tell children that Santa exists to preventing an oppressed group of people from voting. Perhaps at the core of ATT is belief that family and cultural traditions are important. In some ways, ATT is a popular fallacy of grandmothers all over the world. (shrink)

John C. Altmann decides whether Dracula can really be blamed for his crimes, since it's his nature as a vampire to behave a certain way. Robert Arp argues that Dracula's addiction to live human blood dooms him to perpetual frustration and misery. John V. Karavitis sees Dracula as a Randian individual pitted against the Marxist collective. Greg Littmann maintains that if we disapprove of Dracula's behavior, we ought to be vegetarians. James Edwin Mahon uses the example of Dracula to resolve (...) nagging problems about the desirability of immortality. Adam Barkman and Michael Versteeg ponder what it would really feel like to be Dracula, and thereby shed some light on the nature of consciousness. Robert Vuckovich looks at the sexual morality of Dracula and other characters in the Dracula saga. Ariane de Waal explains that "Dragula" is scary because every time this being appears, it causes "gender trouble." And Cari Callis demonstrates that the Count is really the Jungian Shadow archetype--with added Shapeshifter elements--in the journey of Mina Harker, heroine/victim of Stoker's novel, from silly girl to empowered woman. (shrink)