Herman Parret and Jacques Bouveresse Introduction. As Rosenberg remarks, " Understanding ... is evidently difficult to understand" (in this volume, p. 29). ...
Certaines maximes énigmatiques dÉpicure nous parlent de l'essence du plaisir en termes de concentration et d'ex-centration, de condensation et d'ex- tension, d'implosion d'explosion. Un certain épicurisme chez Kant lui fait dire la même chose, là où le sentiment vital est invoqué dans l'expérience esthé- tique. Le plaisir esthétique est mis en rapport avec la tensivité, le corps, la vie, le corps-en-vie. Toutefois, le plaisir, dans la tradition épicurienne, semble être l'inter- face de eros et aisthèsis, d'une érotétique et d'une esthétique, (...) le corps-en-vie étant un corps-désir et un corps-sensation. Lucrèce, en bon épicurien et en préfi- gurant un certain Merleau-Ponty, évoque dans sa poésie géniale la vérité des sens, celle du corps-sensation défini à partir de la " sensation globale " du corps .Some enigmatic maxims of Epicurus discuss the essence of pleasure focusing on terms like concen- tration and excentration, condensation and extension, implosion and explosion. The epicurist tendency in Kant makes him saying similar things. He mentions " vital feeling " in his determination of the aesthetic experience. Aesthetic pleasure then is related to " tensivity ", the body and life, the living body. However, pleasure, in the Epicurean tradition, seems to be the interface o/eros and aisthèsis, of a erotetic and an aesthetic, because the living body is at the same time a body-desire and a body-sensation. Lucretius, as a good Epicurean and announcing Merleau-Ponty, writes in his genial poem about the truth of the senses, the truth of body-sensation defined from the point of view of the " global sensation " of the body. (shrink)
Classical aesthetics sees the experience of the beautiful as an anthropological necessity. But, in fact, the beautiful is rather the central category designating classical art, and one can question the relevance of this category considering contemporary art. The reference term most frequently used for contemporary art is interesting: works of art solicit the interests of my faculties (the cognitiveintellectual, the pragmatic community-oriented moral, the affective aesthetic faculties). It is interesting to notice that the categories of the beautiful and the ugly (...) have an axiological-moral value. It looks as if the qualities of contemporary art works are judged according to the intensity of the impact on the interests of our faculties. It reveals important, in this respect, to distinguish the ugly from the sublime and the monstrous. Kant’s Third Critique is of some importance in defi ning these categories. (shrink)
My position concerning universald research consists of four theses: universal grammar has as its object empirical linguistic facts; to account for these facts, a linguistic theory in symbiosis with the grammar is needed; this theory reconstructs language in rationalistic terms; universals research in its dependence on a rationalistic theory of language has to be epistemologically motivated, i.e. universal constraints on the grammar as well as on language have to be elaborated without to be directed towards a foundational or ontological explanation (...) of the apriori. (shrink)
SummaryThis paper is on what we understand when we are said to understand semiotic sequences, such as sentences, arguments, proofs, road indications, jokes, and works of art, and on how we can understand them. The theory of understanding defended here is psycho‐pragmatic, and it is anthropologically oriented. The contention is that we always understand significances: users of semiotic systems have an acceptance relation with a significance ≪[]: the conveyed proposition is modified by the universal rationality operator ≪, and by the (...) partial mood‐operator. We can understand significances by the fact that they are descriptively presented to the users of semiotic systems as common values of the community to which they belong and want to belong. (shrink)
