In this paper, the author offers an introduction to Marsilius of Inghen’s treatment of expositiones of sentences de incipit and de desinit in his treatise on Consequentiae, with an analysis of the various modi exponendi presented by Marsilius and an edition of the text. The author argues that, in the split between physical and logical approaches to the issues arising in analyses of incipit and desinit, Marsilius’ theory presents some hybrid features, but tends towards the logical end of (...) the spectrum. (shrink)

This essay is a commentary on Part One of Thus Spake Zarathustra. It argues that the concept of the overman which develops in Part One must be understood in relation to the parodistic and tragic elements of the text. In particular, the claim is advanced that Zarathustra's notion of the overman derives from a tragic awareness unavailable to nineteenth century humanism.

Philosophia Scientiae a souhaité rendre hommage à un philosophe contemporain d’expression française, Jerzy (Georges) Kalinowski. Il nous est apparu en effet que son œuvre, novatrice dans le champ de la logique, spécialement de la logique des normes, mérite en France une reconnaissance qu’elle n’a pas encore pleinement reçue. Les raisons de cette relative méconnaissance, surtout dans le contexte français, sont nombreuses, si l’on songe aux difficultés que peut représenter, pour la pensée franç...

Philosophia Scientiae a souhaité rendre hommage à un philosophe contemporain d’expression française, Jerzy (Georges) Kalinowski. Il nous est apparu en effet que son œuvre, novatrice dans le champ de la logique, spécialement de la logique des normes, mérite en France une reconnaissance qu’elle n’a pas encore pleinement reçue. Les raisons de cette relative méconnaissance, surtout dans le contexte français, sont nombreuses, si l’on songe aux difficultés que peut représenter, pour la pensée franç...

I analyse here some histories of people who lived in concentration camps and told their experiences: De Gaulle Anthonioz (La Traversée de la nuit), Geoffroy (Au temps des crématoires…), Semprun (L’Écriture ou la vie). These histories represent the lives of survivors, but they are also a form of literary expression with a narrative structure that codifies a genre. More particularly, I focus the attention on the incipit, a strategic place in which some of the specific features of the global (...) meaning and structural organization of the whole text can be seized. My hypothesis is that in histories of survival, already in the incipit, the authors strive to convey the emblematic value of their history: an extreme and traumatic experience which is difficult to express. The analysis of these incipit shows that experiences related to concentration camps, to be expressed, need an elaborated message and that an artistic aim can contribute to the representation of these experiences. From the structural viewpoint, histories of survival amplify a dichotomy existing in several literary genres and currents: ‘external reference’ and ‘internal organization’, mimetic ‘truth’ and narrative ‘structure’, ‘reality’ and ‘convention’, ‘experience’ and ‘narration’. In my opinion, histories of survival solve theseoppositions by reconciling some contraries through the use of oxymora. Even narratives structures or key figures such as the author, the narrator, the observer, the witness and so on, tend to become oxymora. The study of these features (and combination) is pertinent for anthropology (by seizing facts thanks to elaborated ‘ways of uttering’ authors often redefine forms of humanity) and for semiotics (any form of expression, even if original, has to be collectively shared and based on a system of signs). In my opinion, a joint semiotic and anthropological approach can help analysing histories of survival as a ‘literary genre’ and as a ‘historical tragic phenomenon’. (shrink)

Walter Burley is the author of a treatise, entitled De primo et ultimo instanti, which is regarded as the most popular medieval work on the problem of assigning first and last instants of being to permanent things. In this paper, however, the author does not deal with this treatise directly. She looks instead at Burley’s Physics commentary to see how he applies the ideas presented in De primo et ultimo instanti to the solution of an Aristotelian puzzle about the ceasing (...) to be of the present instant. In Burley’s interpretation, the relevant question raised by the puzzle is whether the present instant ceases to be when it is or when it is not. While Aristotle’s argument quickly dismisses the first alternative as absurd, Burley defends it by appealing to the ‘expositions’ of sentences about ceasing. Given that the sentence ‘this instant ceases to be’ has two expositions— ‘this instant now is and immediately afterwards will not be’ or ‘this instant now is not and immediately beforehand was’ —Burley maintains that the sentence is true in exposition but not true in exposition, so that an instant ceases to be when it is and not when it is not. (shrink)

I analyse here some histories of people who lived in concentration camps and told their experiences: De Gaulle Anthonioz (La Traversée de la nuit), Geoffroy (Au temps des crématoires…), Semprun (L’Écriture ou la vie). These histories represent the lives of survivors, but they are also a form of literary expression with a narrative structure that codifies a genre. More particularly, I focus the attention on the incipit, a strategic place in which some of the specific features of the global (...) meaning and structural organization of the whole text can be seized. My hypothesis is that in histories of survival, already in the incipit, the authors strive to convey the emblematic value of their history: an extreme and traumatic experience which is difficult to express. The analysis of these incipit shows that experiences related to concentration camps, to be expressed, need an elaborated message and that an artistic aim can contribute to the representation of these experiences. From the structural viewpoint, histories of survival amplify a dichotomy existing in several literary genres and currents: ‘external reference’ and ‘internal organization’, mimetic ‘truth’ and narrative ‘structure’, ‘reality’ and ‘convention’, ‘experience’ and ‘narration’. In my opinion, histories of survival solve theseoppositions by reconciling some contraries through the use of oxymora. Even narratives structures or key figures such as the author, the narrator, the observer, the witness and so on, tend to become oxymora. The study of these features (and combination) is pertinent for anthropology (by seizing facts thanks to elaborated ‘ways of uttering’ authors often redefine forms of humanity) and for semiotics (any form of expression, even if original, has to be collectively shared and based on a system of signs). In my opinion, a joint semiotic and anthropological approach can help analysing histories of survival as a ‘literary genre’ and as a ‘historical tragic phenomenon’. (shrink)

L’article prend en considération la façon dont différents auteurs rassemblés sous l’étiquette générale de « présocratiques » commençaient leurs discours. Dans le contexte d’une transmission essentiellement orale tel que celui de la culture de la Grèce archaïque, l’incipit prend une importance fondamentale, dans la mesure où il pose les bases de la communication, définit le type de message que l’auteur veut transmettre et indique dans quelle voie il s’engage. Il donne donc des indications non seulement sur le type de (...) texte, mais aussi sur le genre de public auquel ce texte était adressé. S’il s’agit d’un public restreint et choisi, l’incipit est généralement élitiste, obscur, et fait référence à un code auquel il est difficile d’accéder ou, comme dans le cas de l’écrit d’Alcméon, mise sur la difficulté d’une entreprise que les disciples doivent surmonter à l’aide de l’enseignement du maître. Si le texte est destiné à un public plus large d’amateurs cultivés, il mise sur des phrases ronflantes qui suscitent des visions grandioses et des émotions et placent l’orateur dans une position dominante vis-à-vis de l’auditoire. Ici on prend en considération en particulier les incipit de quatre auteurs assez différents les uns des autres, de la fin du vie au dernier tiers du ve siècle av. J.‑C. : Héraclite, Alcméon, Anaxagore et Diogène d’Apollonie. En recourant à l’analyse linguistique et en les confrontant avec d’autres textes de même époque, on cherche à définir la particularité de chaque texte en relation avec le message qu’il véhicule et avec ses destinataires. Les résultats de cette analyse invitent à reconsidérer la méthode à employer pour aborder les fragments des auteurs dits présocratiques et à se libérer du modèle herméneutique « anthologique » d’Aristote qui vise à rechercher un « système » philosophique et néglige le rythme prosodique, l’harmonie de la langue, le caractère persuasif des textes et leur contexte culturel. (shrink)

Le célèbre incipit du Peri theon (80 B 4 DK = 31 D 10 Laks-Most), dans lequel Protagoras affirmait être dans l’incapacité de savoir si les dieux existent ou non, joue sans aucun doute un rôle important dans l’histoire de l’athéisme ancien dans la mesure où il permet, comme le souligne David Sedley, de reconstruire un contexte culturel dans lequel la négation de l’existence des dieux était considérée comme une thèse philosophique digne d’être discutée. La présente contribution portera sur (...) les principaux problèmes exégétiques relatifs au fragment protagoréen. Dans un premier moment, nous nous occuperons de la question de la constitution du texte. Nous considérerons ensuite l’historicité de la tradition biographique concernant la persécution judiciaire du sophiste, qui est évoquée par la plupart des sources citant le fragment. Finalement, nous essayerons d’étudier le fragment de Protagoras dans le cadre de la tradition philosophique et littéraire qui le précède et de l’analyser à la lumière de la réflexion philosophique du sophiste lui-même, afin de mieux comprendre le point de vue sur les dieux et la religion que Protagoras exprimait dans son écrit. (shrink)

This article argues that María Lugones's articulation of decolonial feminism, as a theory and potential political praxis, both disappears Blackness and subjugates African American women—their scholarship, their language, and the materiality of their Black “flesh”—within the same subordinate position the coloniality of gender decries. Expanding Hortense Spillers's concept of “pornotroping,” this article puts into relief the ideological and rhetorical investments in deploying the figure of the Black woman to institute an argument about gender, but only to erase this figure from (...) the political and affective registers of its theorization. This essay argues that Lugones's theorization of decolonial feminism effectively reifies the libidinal dynamics it denounces: turning Africans into captives, into commodities for use and abuse. It questions the camouflaging and decontextualization of Black feminist interventions that consider the singularity of antiblack violence as a model for thinking about violence as a phenomenological and ontological global order, critiquing the category of gender incipit to the process of enslavement and colonialism that ushers in the very modernity that decoloniality frames itself against. (shrink)

v. 1. Incipit Zarathustra/Incipit tragoedia: art, music, representation, and style -- v. 2. The world as will to power- - and nothing else? : metaphysics and epistemology -- v. 3. On morality -- v. 4. The last man and the overman: Nietzsche's politics.

In this collection of provocative essays, historians and literary theorists assess the influence of Michel Foucault, particularly his History of Sexuality, on the study of classics. Foucault's famous work presents a bold theory of sexuality for both ancient and modern times, and yet until now it has remained under-explored and insufficiently analyzed. By bringing together the historical knowledge, philological skills, and theoretical perspectives of a wide range of scholars, this collection enables the reader to explore Foucault's model of Greek culture (...) and see how well his interpretation accounts for the full range of evidence from Greece and Rome. Not only do the essays bring to light the assumptions, ideas, and practices that constituted the intimate lives of men and women in the ancient Mediterranean world, but they also demonstrate the importance of the History of Sexuality for fields as diverse as Greco-Roman antiquity, women's history, cultural studies, philosophy, and modern sexuality. The essays include "Situating The History of Sexuality" (the editors), "Taking the Sex Out of Sexuality: Foucault's Failed History" (Joel Black), "Incipit Philosophia" (Alain Vizier), "The Subject in Antiquity after Foucault" (Page duBois), "This Myth Which Is Not One: Construction of Discourse in Plato's Symposium" (Jeffrey S. Carnes), "Foucault's History of Sexuality: A Useful Theory for Women?" (Amy Richlin), "Catullan Consciousness, the 'Care of the Self,' and the Force of the Negative in History" (Paul Allen Miller), "Reversals of Platonic Love in Petronius' Satyricon" (Daniel B. McGlathery), and an essay from Dislocating Masculinity (Lin Foxhall). (shrink)

One day towards the end of the eighth century the scribe of cod. Paris. Lat. 7530, a miscellany to which we owe the carmen de figuris , began to copy out for us, on the 28th leaf of the MS, the Thyestes of Varius. He transcribed the title and the prefatory note, which run thus: INCIPIT THVESTA VARII. Lucius Varius cognomento Rufus Thyesten tragoediam magna cura absolutam post Actiacam uictoriam Augusti ludis eius in scaena edidit, pro qua fabula sestertium (...) deciens accepit. Then he changed his mind: he proceeded with a list of the notae employed by Probus and Aristarchus, and the masterpiece of Roman tragedy has rejoined its author in the shades. (shrink)

Ce livre [...] semble être écrit dans le langage d'un vent de dégel : on y trouve de la pétulance, de l'inquiétude, des contractions et un temps d'avril, ce qui fait songer sans cesse au voisinage de l'hiver, tout autant qu'à la victoire sur l'hiver, à la victoire qui arrive, qui doit arriver, qui est peut-être déjà arrivée... La reconnaissance rayonne sans cesse, comme si la chose la plus inattendue, ce fut la guérison. " Gai savoir " : qu'est-ce sinon (...) les saturnales d'un esprit qui a résisté patiemment, sévèrement, froidement,, sans se soumettre, mais sans espoir, - et qui maintenant, tout à coup, est assailli par l'espoir de guérison, par l'ivresse de la guérison? [...] " Incipit tragaedia " - est-il dit à la fin de ce livre d'une simplicité inquiétante : que l'on soit sur ses gardes! Quelque chose d'essentiellement malicieux et méchant se prépare : incipit parodia, cela ne laisse aucun doute... Friedrich Nietzsche Ecrit entre 1881 et 1887, publié une première fois en 1882, dans une version incomplète, repris et parachevé ensuite. Le Gai Savoir confirme et conforte le radicalisme nietzschéen. Les grands thèmes de sa réflexion sont désormais parvenus à leur pleine maturité. L'idéal, la nécessité de l'héroïsme en philosophie, l'analyse de la décadence, mais aussi le principe de l'éternel retour, le mythe de Zarathoustra, la connaissance, la religion c'est un véritable bréviaire du " nietzschéisme " qui apparaît au fil des pages. (shrink)

In the first edition of _The Gay Science_ (_GS_), Nietzsche proposes that we treat knowledge as unconditionally valuable and life as a tragic quest for truth. In the second edition of _GS_, he seems to retract this proposal, suggesting that we substitute "_incipit parodia_" for "_incipit tragœdia_." But Nietzsche does not say what he means by "parody," or what role he believes it should play in our evaluative lives. This article proposes that by introducing parody into _GS_, Nietzsche intends not (...) only to correct the original text by mocking his earlier treatment of science as tragic, but also to designate parody as a basis for new tasks, duties, and values beyond what science can offer. This article speculates that parodic value creation might consist in the imitation of behaviors and practices associated with preexisting values without the reproduction of the beliefs and feelings corresponding to those practices. (shrink)