This introduction to “Anthropological Philosophy: Symposium on an Unanticipated Conceptual Practice” comprises a brief history of attitudes among anthropologists toward the philosophical field of ontology, and attitudes among professional philosophers toward the kinds of alien and marginal thinking with which anthropology is concerned. After the narrative reaches what has been called the “ontological turn” in anthropology, which is generally assumed to represent the current moment in relations between the disciplines, the author discloses the recent emergence of an unexpected cultural practice: (...) a hybrid of anthropology and philosophy that takes metaphysics, as distinct from ontology, as both its object and its method. The distinction between metaphysics and ontology is crucial to this new “intellectual space” because, while ontology is an unconscious possession of any people, metaphysics is a demanding speculative discipline whose becoming an object of anthropology suggests that indigenous peoples consciously deal with questions about what is real and what is not in ways so impressive and sophisticated that they can be compared with the efforts of credentialed philosophers. In this emergent conceptual practice, moreover, the work of academic philosophers is open to elaboration and correction in response to the findings of tribal and Western marginal thinkers. Among the developers of anthropological philosophy are said to be the Brazilian anthropologist Eduardo Viveiros de Castro, the French philosopher Patrice Maniglier, and the other contributors to this symposium, whose articles the author goes on, in this context, to describe and assess. (shrink)

Louis-Marie Chauvet a élaboré sa théorie du symbolique durant les années structuralistes. Après avoir montré comment la manière dont le théologien des sacrements théorise prête flanc à des critiques pouvant venir de toutes parts, l’article se penche sur l’hypothèse d’un resserrement théorique autour de l’anthropologie culturelle et sociale et du concept d’échange symbolique, afin de prolonger la théologie de l’alliance et de la grâce qu’il développe à partir de la ritualité chrétienne. L’itinéraire de Chauvet témoigne aussi à sa façon (...) des défis que rencontre tout théologien tentant de dialoguer avec les sciences humaines et sociales ; il se retrouve rapidement à la croisée de chemins qui, bien qu’ils se croisent, ne conduisent pas tous au même endroit. (shrink)

“Paris, Capital of the Nineteenth Century” juxtaposes elliptical descriptions that reveal the interiorization of commodities in the economy of high capitalism. “Allegory in the nineteenth century vacated the outer world, to colonize the inner world.”32 Each of the exposé’s six sections consists of two parts: “Fourier, or the Arcades,” “Daguerre, or the Panoramas,” “Grandville, or the World Exhibitions,” “Louis-Philippe, or the Interior,” “Baudelaire, or the Streets of Paris,” “Haussmann, or the Baricades.”33The commercial arcade and not the factory is the (...) logical starting point for Benjamin. Paris, like London, the other capital of nineteenth-century capitalism, is an administrative and financial but not an industrial center. Paris is the locus classicus of bourgeois culture, which finds its most conspicuous expression in the arcade. The arcade cuts through and commercializes the residential block. It harnesses the technology of cast-iron “Pompeian” pillars, to offer in its enticing bay windows the latest, most sophisticated form of bourgeois merchandising. Fourier houses his “land of Cockaigne” in a “reactionary modification” of the arcade.34Parallel to the technical innovation of the arcades is that of the lifelike painted panoramas, which serve Jacques-Louis David’s pupils when they “draw from nature.” Politically superior, the city still dreams of the country. “The panoramas, which declare a revolution in the relation of art to technology, are at the same time an expression of a new feeling about life.”35 They drive a wedge between “plastic foreground” and “informational base.” The worker in the literary panorama is “a trimming for an idyll.” Technical innovations in photography reduce the representational significance of painting. Now photography “is given the task of making discoveries”: it explores the sewers and catacombs. It markets events. With impressionism and cubism, painting in turn transcends bourgeois conceptions of realism. 32. “Die Allegorie hat im neunzehnten Jahrhundert die Umwelt geräumt, um sich in der Innenwelt anzusiedeln” .33. Adorno objects to the use of people’s names in these titles and suggests that objects like dust or plush would bemore illuminating. Benjamin retains the names to evoke bourgeois interiorization. Louis-Philippe, however, is anomalous, since he is emblem rather than allegorist; the true allegorist of the “Louis-Philippe, or the Interior” section is the collector. Otherwise, the organization is strictly symmetrical: Benjamin discusses Charles Fourier, Louis Daguerre, and Grandville at the end of the sections in which they appear, the others at the beginning.34. Trans. Jephcott, p. 148. “Das Schlaraffenland,” “ihre reaktionäre Umbildung” . Anne Higonnet, formerly a student at the Ecole du Louvre, is a graduate student of art history at Yale University. Margaret Higonnet, professor of English and comparative literature at the University of Connecticut, has written on Romantic and modern literary theory. Patrice Higonnet is Goelet Professor of French History at Harvard University. He has written on the French Revolution and, with Margaret Higonnet, is coauthor of a forthcoming book on suicide in eighteenth-century France. (shrink)

Longtemps, les philosophes français du XIXe siècle, ont été injustement rejetés. Dans les années 30, l'extrême droite, avec Léon Daudet, les disait " stupides ". Dans les années 60, l'extrême gauche, avec Louis Althusser, les jugeait pitoyables et affligeants. De telles opinions sont désormais revues et corrigées. La lecture des textes est d'ailleurs éclairante. A l'évidence, ces œuvres du siècle dernier esquissent, le plus souvent, le cadre des grands débats intellectuels d'aujourd'hui. Qu'il s'agisse des rapports entre l'esprit scientifique et (...) la spiritualité religieuse, des relations entre la civilisation occidentale et les autres cultures, ou de la conception du rôle de l'Etat. Philosophie, France, XIXe siècle constitue le premier panorama du genre : il rassemble un large ensemble de textes essentiels - toujours donnés dans leur version intégrale-, introuvables en librairie. Organisé en chapitres thématiques, qui reprennent les principaux fils directeurs de la réflexion du temps, détaillent les enjeux et les inscrivent dans leur contexte historico-philosophique, le volume constitue un instrument irremplaçable pour découvrir l'une des périodes les plus méconnues de la philosophie française. (shrink)

No figure among the western Marxist theoreticians has loomed larger in the postwar period than Louis Althusser. A rebel against the Catholic tradition in which he was raised, Althusser studied philosophy and later joined both the faculty of the Ecole normal superieure and the French Communist Party in 1948. Viewed as a "structuralist Marxist," Althusser was as much admired for his independence of intellect as he was for his rigorous defense of Marx. The latter was best illustrated in For (...) Marx (1965), and Reading Capital (1968). These works, along with Lenin and Philosophy (1971) had an enormous influence on the New Left of the 1960s and continues to influence modern Marxist scholarship. This classic work, which to date has sold more than 30,000 copies, covers the range of Louis Althusser's interests and contributions in philosophy, economics, psychology, aesthetics, and political science. Marx, in Althusser's view, was subject in his earlier writings to the ruling ideology of his day. Thus for Althusser, the interpretation of Marx involves a repudiation of all efforts to draw from Marx's early writings a view of Marx as a "humanist" and "historicist." Lenin and Philosophy also contains Althusser's essay on Lenin's study of Hegel; a major essay on the state, "Ideology and Ideological State Apparatuses," "Freud and Lacan: A letter on Art in Reply to Andre Daspre," and "Cremonini, Painter of the Abstract." The book opens with a 1968 interview in which Althusser discusses his personal, political, and intellectual history. (shrink)

First systematic presentation and assessment of the groundbreaking journal Cahiers pour l’Analyse. Concept and Form is a two-volume monument to the work of the philosophy journal the Cahiers pour l’Analyse (1966–69), the most ambitious and radical collective project to emerge from French structuralism. Inspired by their teachers Louis Althusser and Jacques Lacan, the editors of the Cahiers sought to sever philosophy from the interpretation of given meanings or experiences, focusing instead on the mechanisms that structure specific configurations of discourse, (...) from the psychological and ideological to the literary, scientific, and political. Adequate analysis of the operations at work in these configurations, they argue, helps prepare the way for their revolutionary transformation. The first volume comprises English translations of some of the most important theoretical texts published in the journal, written by thinkers who would soon be counted among the most inventive and influential of their generation. The second volume collects newly commissioned essays on the journal, together with recent interviews with people who were either members of its editorial board or associated with its broader theoretical project. Contributors include Alain Badiou, Étienne Balibar, Edward Baring, Jacques Bouveresse, Yves Duroux, Alain Grosrichard, Peter Hallward, Adrian Johnston, Serge Leclaire, Patrice Maniglier, Tracy McNulty, Jacques-Alain Miller, Jean-Claude Milner, Knox Peden, Jacques Rancière, François Regnault, and Slavoj Žižek. (shrink)

This collection includes key texts from one of France's most famous philosophers, which intervene in the debate between "the humanist" and the structuralists.

Did modernity begin with the Renaissance and end with post-modernism? Dupre challenges both these assumptions, discussing the roots, development and impact of modern thought and tracing the principles of modernity to the late 14th century.

How should philosophy approach religious experience, which by definition surpasses its competence? Can philosophy do more than describe the religious experience without discussing its object? Can religion make genuine truth claims - especially when the prevalence of suffering and evil in the world seems to belie those claims? These are some of the basic questions raised in this engaging collection of essays by philosopher Louis Dupre. According to Dupre, a philosophical analysis of faith must take account of the unique (...) system of symbols in which it expresses its beliefs, rituals, and modes of worship. The justification of religious symbols has become a particular problem in an age that tends to separate the objective from the subjective, interpreting the former literally and denying objective reality to the latter. Dupre's essays on von Balthasar's theory of religious form and on the nature of ritual attempt to restore the original meaning of religious symbols, while integrating them with the modern emphasis on human creativity. "As this slim but remarkable book of essays makes abundantly clear, its author bids fair to have an influence that will last into the next century, at the last: there is something about his philosophy that seems not just nourishing for a day or hour but perennially satisfying. " - Commonweal "Dupr writes with the clarity of an analytical philosopher about the issues of experience dear to phenomenologists and with a depth of historical understanding and sensitivity to the life of faith that is rare now in philosophy. In short, this book is that all too unusual phenomenon, religious philosophy. It is done very well, indeed." - Theology Today " This is a wise and thought-provoking collection." - Modern Theology. (shrink)

Views American democracy, revolution, and capitalism in the light of Western history.

Argues that the underlining of erotic matters in Plato's dialogues marks the most significant moment in his career.

The first publication of seminal early writing by Louis Althusser. Throughout the 1960s and 1970s, Louis Althusser enjoyed virtually unrivalled status as the foremost living Marxist philosopher. Today, he is remembered as the scourge and severest critic of "humanist" or Hegelian Marxism, as the proponent of rigorously scientific socialism, and as the theorist who posited a sharp rupture—an epistemological break—between the early and the late Marx. This collection of texts from the period 1945-1953 turns these interpretations of Althusser (...) on their head: we discover that there was a "young Althusser" as well as the "mature Althusser" we are already familiar with. In his fascinating Master's thesis, "On Content in the Thought of G.W.F. Hegel" (1947), Althusser developed a position which he was later to attack ferociously: namely, that the revolutionary potential of the Hegelian dialectic could be defended against Hegel's own political conservatism. We see Althusser still wrestling with the spectres of Hegel and of Catholicism in another long text, his letter to Jean Lacroix, and, finally, we see his own "epistemological break" in the piece "On Marxism" from 1953. Other texts included are his critique of Alexander KojÅve (whose interpretation Francis Fukoyama has recently revived) and his attack on the French Church's teachings on women, sex and the family. Widely recognized as an intellectual giant of the late twentieth century, Althusser has left a towering legacy. This collection not only gives a unique insight into the formation of such a personality, but will also restore the "unknown Althusser" to the centre of the history of Marxism and of philosophy since the Second World War. (shrink)

Ce texte a pour but de mettre en confrontation la conception ruyérienne de la philosophie avec la conception wittgensteinienne. L’opposition majeure consiste dans l’idée défendue par Ruyer selon laquelle on ne saurait concevoir ce qu’est l’esprit sans définir un domaine, intérieur au sujet, qu’on peut identifier avec sa subjectivité. Une telle idée est comprise par Ryle comme un mythe, celui de l’intériorité. Il y a en revanche une volonté commune à Ruyer et Wittgenstein de s’émanciper de la science. Deux thèmes (...) permettent alors de comparer les objectifs de Ruyer et ceux des philosophes wittgensteiniens : le thème des mythes en philosophie et celui de la traduction. (shrink)

The Lonely Labyrinth winds the suggestion that "Kierkegaard was a profoundly sick man, and that the character of his sickness established a privileged perspective for the understanding of his work." In the light of this thesis, his "works turn out to be, not abstruse theologico-philosophical treatises or mysterious aesthetic essays, but successive moves in a complicated dialectic of therapy." They are "efforts... to find not truth but health." Part One of Thompson's book sketches the biographical, psychological, philosophical, and literary background (...) of Kierkegaard's authorship. Part Two--the major division of the book--offers readings of the pseudonymous works from Either/or through Concluding Unscientific Postscript. (shrink)

Excerpt from Die Philosophischen Prinzipien der Mathematik Dieser Stand der Dinge hat sid1 während der zweiten Hälfte des 19.1ahrhunderß vollständig geändert. Auf der einen Seite erfaßten die Mathematiker ihren Vorgängern unbekannte logische Bedenken; sie begannen ihre Beweismethoden zu analysieren. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format (...) whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

"American Exposures sheds light on photographs, from Arthur Mole's propagandistic 'living photographs' of American icons and symbols to the exploration of contemporary subcultural communities by the Korean-born photographer and performance ...

Gasparyan shows the relationship of eigenform with semiosis. In agreement with her, I discuss these ideas from my own viewpoint.