Un ensemble de textes qui ont comme sujet soit Jacques Proust lui-même, spécialiste du siècle des lumières et de Diderot en particulier, soit un domaine que ce professeur universitaire de lettres affectionnait, tel le Japon.
Religionsphilosophie hat sich nach Jörg Splett mit einer Fundamentalfrage zu befassen: Woher stammt die Idee des Guten, deren Sollensanspruch den Menschen unmittelbar trifft und ihm als Grund zur Mitliebe und Dankbarkeit aufleuchtet? Die vorliegende Festschrift zum 80. Geburtstag des Jubilars versammelt Beiträge im Spannungsfeld von Vernunft, Glaube und Liebe, die den Menschen in welthaften Symbolbeziehungen – z. B. des Spiels, der Ehe, der Personalität, der Individualität, des Mutterseins, der Theodizee, der Sinnfrage, der „Grenze der Sprache“ und der Suche nach Transzendenz (...) – denken. Im Mitlieben der Welt symbolisiert sich der Ursprung des Guten. (shrink)
Abstract:There is a storied history of Native and Indigenous feminisms on Turtle Island (North America). We are fortunate that many of those stories birthed from an ancestral tradition of storytelling and survivance were captured in the canonical feminist anthology This Bridge Called My Back: Writings of Radical Women of Color. In celebration and commemoration of 40 years since This Bridge was first published we visit with three of the books original Native and Indigenous contributors–Chrystos, Max Wolf Valerio, and Jo Carrillo–to (...) recount old as well as new stories as they explore what Native and Indigenous feminisms mean to them and their continued work for Indigenous visibility. The conversation provides a unique intergenerational vision for conceptualizing contemporary Native and Indigenous feminisms all the while building upon the legacy and path set forth by amazing Native and Indigenous women trailblazers. (shrink)
This chapter is divided into three sections. In the first, I identify the mentions of Schopenhauer in À la recherche du temps perdu. I use an implicit reference to Schopenhauer by Swann to open a discussion of Schopenhauer’s theory of music. I attempt to downplay its identification, suggested by some commentators, with both the views about music expressed in the novel and the form of the novel itself. In the second section, I discuss Proust’s references to Schopenhauer in his (...) essay on reading. I confirm that Proust well understood Schopenhauer’s relationship with his own erudition and suggest that Schopenhauer’s influence on Proust may take the form of an incitement to think for oneself. In the third and final section, I consider several potential points of convergence between Proust and Schopenhauer concerning states of the will. However, in all cases I find, as I do throughout the chapter, that below the surface Proust and Schopenhauer often part ways. (shrink)
Beauty is a contested concept insofar as it seeks to mark a categorical distinction among the sources of pleasure, typically in terms of oppositions such as objective/subjective, universal/particular, necessity/contingency. Kant represents a culmination of this tradition in defining the judgment of beauty in terms of the requirement for universal agreement, modeling the judgment of beauty as closely as possible to ordinary factual judgments. A different tradition of thinking about beauty, however, while still seeking to mark a categorical distinction by reference (...) to the idea of necessity, finds the relevant sense of necessity not in conditions of agreement but necessities of erotic love and the sense of requirement felt toward its objects. This paper explores the consequences of taking this other tradition seriously, using Proust as a representative exemplar, as a way both of making sense of some of the features Kant ascribes to the concept of the beautiful, while avoiding the paradoxes stemming from his focus on the conditions for universal agreement. (shrink)
En plus d'un excellent ouvrage analytique sur Proust, cette thèse dépasse son objet en distinguant bien la pensée du romancier de celle du théoricien. Ainsi la notion de philosophie du roman est profondément explorée et la proposition d'une réforme de la théorie du récit (narratologie) est esquissée. Suppose lecture de la ##Recherche##.
The self as the identification of the self with itself is a product of the dynamic transformation of European culture beginning in the Renaissance. The self, or absolute ego, was an outgrowth of the consciously rationalist spirit. However, modernity's Faustian drive was conscious paradoxically without being self conscious of itself or its cultural creations. Modernism deconstructed the values and assumptions of modernity. A casualty was the problematization of the self that had been banished and/or erased by formalism, structuralism and deconstruction. (...) The modernist self erases the absolute ego reconstructing it with a rich, complex, narrative idea of a self‐conscious relational self encompassing memory, repression, autobiography and history. This paper explores the modernist conception of self in Marcel Proust's In Search of Lost Time. Proust demolishes the absolute ego in favor of the paradoxical self which knows itself only in relation to otherness actualized in persons and culture in the sacred time of existence. (shrink)
Does metacognition--the capacity to self-evaluate one's cognitive performance--derive from a mindreading capacity, or does it rely on informational processes? Joëlle Proust draws on psychology and neuroscience to defend the second claim. She argues that metacognition need not involve metarepresentations, and is essentially related to mental agency.
For a certain ordinary class of desires, Marcel Proust’s thoughts on their satisfaction can be summed up in one word: don’t. Don’t satisfy your desires; doing so will fail to satisfy you. Should you therefore seek to eliminate desire? Absolutely not: desiring itself sustains you. The disappointment of attaining what you desire is one of Proust’s most persistent themes, elaborated in the florid unfolding of À la recherche du temps perdu but already expressed succinctly in an early story (...) from Les plaisirs et les jours: “Desire makes all things blossom; possession wilts them.” If you believed this, what should you do? Best to aim not to satisfy your desires at all. This paper is a development and limited defense of these baldly stated claims, and includes discussions of the role of the imagination in the formation of desire, the distinction between the hypothetical imagination and the imaginativeness that is involved in the perception of beauty, and the relationship between desire, desire satisfaction, and agent satisfaction. (shrink)
The philosophical reading of Proust’s Recherche presented here suggests Proust’s aesthetic method as a model for philosophy. The term “aesthetic” refers to the constitutive role of sensation, perception, and sensuality for the practice of philosophising. In Proust’s peculiar descriptions a specific form of “sentient thinking” takes shape. This thinking is characterised by the entanglement of the particular as detailed description and the general as theoretical reflection. With reference to Proust, the philosophical practice of describing is developed (...) into a central element of philosophy as aesthetic practice. (shrink)
The senses can be powerful triggers for memories of our past, eliciting a range of both positive and negative emotions. In this book we explore what is so special about sense memories, how they work in the brain, how they can enrich our daily life, and even how they can help those suffering from problems involving memory.
Françoise Proust explains that where Foucault established a cartography of power, she is interested in elaborating an "analytic of resistance." This, she elaborates, would be "the transcendental of every resistance, whatever kind it be: resistance to power, to the state of things, to history; resistance to destruction, to death, to war; resistance to stupidity, to peace, to bare life.".
Proust's Recherche includes detailed depictions of political mentalities that reveal the critical influence of socio-economic structures without foreclosing the possibility of individual autonomy. His novel also draws attention to a factor that seems resistant to formal social-scientific analysis, namely the role of emotional contingency in shaping individuals’ political views. The capriciousness displayed by Proust's characters in their approach to the Dreyfus Affair and other political controversies comes to epitomize a broader pattern of emotional volatility within high politics during (...) the First World War and its aftermath. That caustic vision of how politics works remains pertinent in our own time, as the rebirth of charismatic authority and performative transgression transform politics into a contest of volatile polarizing enthusiasms. (shrink)
Brassai wrote: "In his battle against Time, that enemy of our precarious existence, ever on the offensive though never openly so, it was in photography, also born of an age-old longing to halt the moment, to wrest it from the flux of 'duree' in order to 'fix' it forever in a semblance of eternity, that Proust found his best ally." He quoted Proust in his own writing, and from the annotated books in his library, we know that he (...) spent a lifetime studying and dissecting Proust's prose, often line by line.". (shrink)
“The will to truth,” says Nietzsche, “is merely a form of the will to illusion”; it’s not the opposite of “the will to ignorance, to the uncertain, to the untrue,” but instead “its refinement.” What can this mean? How could a quest for knowledge ever serve a desire to remain in the dark? I answer this question by means of an example in Proust, whose protagonist expends huge quantities of energy apparently trying to find out whether his love partner (...) is faithful. The efforts, it turns out, are designed not to yield any concrete information but only to give him the impression that he’s left no stone unturned. So they serve what we might call a second-order will to ignorance: a drive to remain unaware of just how much we don’t know. This, too, is what Nietzsche’s “Wissenschaftler” are up to—and maybe, in some contexts, it’s what we should all be up to. (shrink)
This paper investigates the role of literature and, in particular, Proust in Merleau-Ponty’s late works’ rehabilitation of the ontology of the sensible. First, I trace Proust’s role in Phenomenology of Percpetion, contrasting it with the somewhat more paradigmatic status as a model it plays in the late works. Second, I compare this with the role of the novel as partial myth in Schelling, who also played an essential role in Merleau-Ponty’s refiguration of the sensible. I briefly trace his (...) examination of the historical or “sociological meaning” of literature through works of the fifties, beginning with his Collège de France candidacy proposal and continuing through his examination of the rationality of modern disenchantment or dépoétization in the Adventures of the Dialectic. Finally, discussing the late analysis of Proust against this backdrop, I conclude with considerations concerning the relevance of Merleau-Ponty’s overall analysis of Proust both in his thought and contemporary literary criticism and philosophy more generally. Cet article examine le rôle de la littérature et, en particulier, celui de Proust, dans la réhabilitation ontologique du sensible qui se trame dans les derniers écrits de Merleau-Ponty. En premier lieu, je retracerai le rôle de Proust dans la Phénoménologie de la perception, en l’opposant au statut quelque peu plus paradigmatique, comme s’il s’agissait d’un modèle, qu’il joue dans le dernier Merleau-Ponty. Deuxièmement, je comparerai cela avec la fonction du roman conçu comme un mythe incomplet chez Schelling, qui a aussi joué un rôle essentiel dans la reconfiguration du sensible chez Merleau-Ponty. Je décrirai brièvement son analyse de la « signification sociologique » ou historique de la littérature à travers des oeuvres des années ’50, en me penchant, d’abord, sur sa candidature au Collège de France, et, ensuite, sur son étude de la rationalité du désenchantement moderne ou dépoétisation dans les Aventures de la dialectique. Finalement, en examinant les dernières analyses de Proust à partir de ces prémisses, je conclurai avec des considérations sur l’intérêt de l’ensemble de l’analyse que Merleau-Ponty fait de Proust à la fois pour sa pensée, pour la critique littéraire contemporaine et, plus généralement, pour la philosophie.Il presente articolo indaga il ruolo della letteratura e, in particolare, di Proust nella riabilitazione ontologica del sensibile negli ultimi scritti di Merleau-Ponty. In primo luogo, si delinea il ruolo di Proust nella Fenomenologia della percezione, contrapponendolo, in qualche modo, allo statuto paradigmatico di modello che l’autore riveste nei lavori dell’ultimo Merleau-Ponty. In secondo luogo, si confronta questo con il ruolo del romanzo come mito parziale in Schelling, che pure ha giocato una parte essenziale nella rifigurazione del sensibile in Merleau-Ponty. Si articolerà brevemente il significato storico o sociologico della letteratura attraverso gli scritti degli anni Cinquanta, a partire dalla proposta di candidatura di Merleau-Ponty al Collège de France e proseguendo mediante il suo esame della razionalità del disincanto moderno o depoetizzazione ne Le avventure della dialettica. Infine, esaminando l’ultima lettura di Proust a partire da queste analisi, propongo una considerazione riguardo alla rilevanza complessiva dell’autore della Recherche nella riflessione di Merleau-Ponty e, più in generale, nella critica letteraria e nella filosofia contemporanee. (shrink)
Unlike most fiction writers, Proust was trained in philosophy. In fact, he even considered writing a philosophical treatise instead of the novel we know so well. This hesitation about what form his writing should take still haunts his final choice of a novel, which is both philosophical, and yet, not philosophy. Take your pick of philosophers, from Plato to Nietzsche, and you can easily find an essay or even a book arguing that this particular philosopher most applies to (...) class='Hi'>Proust. But as one plunges into the narrative that he finally wrote, one is struck by the fact that In Search of Lost Time feels nothing like what we often call a philosophical novel, or even, a novel of ideas. Instead, philosophical reflection lies in the shadows of his fictional world, a sort of parallel life that can be found in the underweave. (shrink)
Proust's madeleine illustrates the automatic nature of associative learning. Although we agree with Mitchell et al. that no compelling scientific proof for this effect has yet been reported in humans, evolutionary constraints suggest that it should not be discarded: There is no reason by which natural selection should favor individuals who lose a fast and automatic survival tool.
Modernist Objects is a unique mix of cultural studies, literature, and visual arts applied to the discrete materiality of modernist objects. Contributors explore the many tensions surrounding the modernist relationship to objects, things, products and artIfacts through the prism of poetry, prose, visual arts, culture and crafts.
Granting that various mental events might form the antecedents of an action, what is the mental event that is the proximate cause of action? The present article reconsiders the methodology for addressing this question: Intention and its varieties cannot be properly analyzed if one ignores the evolutionary constraints that have shaped action itself, such as the trade-off between efficient timing and resources available, for a given stake. On the present proposal, three types of action, impulsive, routine and strategic, are designed (...) to satisfy the trade-off above when achieving goals of each type. While actions of the first two types depend on non-conceptual appraisals of a given intensity and valence, strategic intentions have a propositional format and guide action within longer-term executive frameworks involving prospective memory. (shrink)