Philosopher Vladimir Jankélévitch has only recently begun to receive his due from the English-speaking world, thanks in part to discussions of his thought by Jacques Derrida, Emmanuel Lévinas, and Paul Ricoeur. His international readers have long valued his unique, interdisciplinary approach to philosophy’s greatest questions and his highly readable writing style. Originally published in 1967, Le Pardon, or Forgiveness, is one of Jankélévitch’s most influential works. In it, he characterizes the ultimate ethical act of forgiving as behaving toward the perpetrator (...) as if he or she had never committed the action, rather than merely forgetting or rationalizing it—a controversial notion when considering events as heinous as the Holocaust. Like so many of Jankélévitch’s works, Forgiveness transcends standard treatments of moral problems, not simply generating a treatise on one subject but incorporating discussions of topics such as free will, giving, creativity, and temporality. Translator Andrew Kelley masterfully captures Jankélévitch’s melodic prose and, in a substantive introduction, reviews his life and intellectual contributions. Forgiveness is an essential part of that legacy, and this indispensable English translation provides key tools for understanding one of the great Western philosophers of the twentieth century. (shrink)

Vladimir Jankélévitch left behind a remarkable uvre steeped as much in philosophy as in music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on music aesthetics and on modernist composers such as Fauré, Debussy, and Ravel. Music and the Ineffable brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the philosophy of music, including metaphysics and (...) ontology. These are a point of departure for a sustained examination and dismantling of the idea of musical hermeneutics in its conventional sense. Music, Jankélévitch argues, is not a hieroglyph, not a language or sign system; nor does it express emotions, depict landscapes or cultures, or narrate. On the other hand, music cannot be imprisoned within the icy, morbid notion of pure structure or autonomous discourse. Yet if musical works are not a cipher awaiting the decoder, music is nonetheless entwined with human experience, and with the physical, material reality of music in performance. Music is "ineffable," as Jankélévitch puts it, because it cannot be pinned down, and has a capacity to engender limitless resonance in several domains. Jankélévitch's singular work on music was central to such figures as Roland Barthes and Catherine Clément, and the complex textures and rhythms of his lyrical prose sound a unique note, until recently seldom heard outside the francophone world. (shrink)

Qu'est-ce que la musique? Selon Jankélévitch, il y a dans la musique une double complication, génératrice de problèmes métaphysiques et de problèmes moraux. Car la musique est à la fois expressive et inexpressive, sérieuse et frivole, profonde et superficielle ; elle a un sens et n'en a pas. Il y a une ironique disproportion entre la puissance incantatoire de la musique et l'inévidence foncière du beau musical.

Le tome 2 du Traité des vertus, intitulé Les Vertus et l'Amour, est consacré à la description des " vertus ", depuis celle du commencement jusqu'à celle de la terminaison, en passant par celles de la continuation et de la conservation. Il distingue en outre deux plans tout à fait hétérogènes : celui des vertus de l'intervalle, que l'homme peut " posséder " et " garder ", mais qui, à peine acquises, tournent en mécanique vertueuse, radotage, complaisance pharisienne et hypocrisie (...) ; et les vertus de pointe que l'homme ne possède jamais, qu'il effleure seulement, d'une tangence impondérable, le temps d'une étincelle et d'une " apparition disparaissante ". Vaut-il mieux être au premier sens, un rentier de la vertu et un vertueux gredin, ou, au sens métempirique, le saint ou le héros d'un instant? L'amour résout peut-être, dans une certaine mesure, cette alternative, qui est aussi celle du bonheur et de la joie. (shrink)

Appearing here in English for the first time, Vladimir Jankélévitch's _Henri Bergson_ is one of the two great commentaries written on Henri Bergson. Gilles Deleuze's _Bergsonism_ renewed interest in the great French philosopher but failed to consider Bergson's experiential and religious perspectives. Here Jankélévitch covers all aspects of Bergson's thought, emphasizing the concepts of time and duration, memory, evolution, simplicity, love, and joy. A friend of Bergson's, Jankélévitch first published this book in 1931 and revised it in 1959 to treat (...) Bergson's later works. This unabridged translation of the 1959 edition includes an editor's introduction, which contextualizes and outlines Jankélévitch's reading of Bergson, additional essays on Bergson by Jankélévitch, and Bergson's letters to Jankélévitch. (shrink)

"Although the original version of Vladimir Jankelevitch's book La mauvaise conscience appeared in 1933, and a second, significantly expanded version appeared in 1951, the present translation corresponds to the 1966 version of the book as it is found in the anthology Vladimir Jankelevitch, philosophie morale."--Translator's introduction.

Publication du cours de philosophie morale professé à l'Université libre de Bruxelles en 1962, différent des cours de la Sorbonne. Didactique, argumenté par de nombreuses références à l'histoire de la philosophie, ce cours donne aussi l'avantage aux thèmes de prédilection du philosophe.