Since the beginning of the War on Terror, Israel has become increasingly salient to imperial strategy and ever more aggressive in its policies toward the Palestinians. In this context, a key ideological weapon is the cynical accusation of "anti-Semitism." For historical reasons, this has been deployed most forcefully in France, and Alain Badiou and Eric Hazan caustically demolish the "anti-Semitism is everywhere" allegation, used to bludgeon opponents of the Israeli state and those who stand in solidarity with the banlieue (...) youth. Ivan Segre undertakes a meticulous deconstruction of a rampant "reactionary philo-Semitism" that identifies Jewish interests with the "democratic West.". (shrink)

Against the backdrop of an alarming rise in authoritarianism and the crisis of liberal democracy, few would consider extoling the virtues of politics today. Yet in this lively dialogue with journalist Aude Lancelin, leading French thinker Alain Badiou argues that it is precisely through politics that humanity can still achieve its most ambitious aims. As power becomes ever more concentrated in the hands of the state and global corporations, the role of the citizen is reduced to little more than (...) ritual. But Badiou emphasizes that politics is concerned not just with power and the state, but also with justice. So the central question of politics is “What is a just power?”, and the debate over politics is fundamentally about the norms to which power is subject and its relationship to a community – a community that is able to take control of its own destiny and provide its own direction, based on a shared standard of justice. This engaging dialogue, in which Badiou articulates his view of politics with exceptional clarity, will be of great value to anyone interested in radical politics today. (shrink)

Didacticism, romanticism, and classicism are the possible schemata for the knotting of art and philosophy, the third term in this knot being the education of subjects, youth in particular. What characterizes the century that has just come to a close is that, while it underwent the saturation of these three schemata, it failed to introduce a new one. Today, this predicament tends to produce a kind of unknotting of terms, a desperate dis-relation between art and philosophy, together with the pure (...) and simple collapse of what circulated between them: the theme of education. Whence the thesis of which this book is nothing but a series of variations: faced with such a situation of saturation and closure, we must attempt to propose a new schema, a fourth type of knot between philosophy and art. Among these “inaesthetic” variations, the reader will encounter a sustained debate with contemporary philosophical uses of the poem, bold articulations of the specificity and prospects of theater, cinema, and dance, along with subtle and provocative readings of Fernando Pessoa, Ste;phane Mallarme;, and Samuel Beckett. (shrink)

ExcerptCarl Schmitt (1888–1985) is known as the most consequential German legal and political mind of the twentieth century.1 Many crimes of the Nazi regime found support in his conceptual justifications, and Schmitt is called the “Crown Jurist” of the Third Reich with good reason. Historians, political scientists, and sociologists must grapple with the author in order to understand the course of totalitarianism in modernity. Whether literary historians should do so is far less settled, though he was fascinated by their object (...) of study. His writings on literary topics are said to reveal much about Schmitt’s person, politics, and period, but little about literature itself.2 This explains why his “Don Quijote und das Publikum” (“Don Quixote and the Public”), published in the arts and cultural journal Die Rheinlande in 1912, was almost unknown in literary studies for a century.3 Schmitt’s text on the novel by Miguel de Cervantes has not been reprinted, and until recently it had not been translated from the original German. Size has a role too. At under two thousand words, the text has probably escaped notice due to its small scale.4 Recent English and Italian translations in major humanistic journals may signal the end of its obscurity though.5 “Don Quixote and the Public” is at the door of literary studies. The question now is not whether to respond, but how. (shrink)

Uses the thoughts of such great minds as Kierkegaard, Plato, and Beckett to examine the concept of love and redefine it in the face of twenty-first century modernity.

Infinite Thought brings together a representative selection of the range of Alain Badiou's work, illustrating the power and diversity of his thought.

The subtractive : preface by Francois Wahl -- Philosophy itself -- The (re)turn of philosophy itself -- Definition of philosophy -- What is a philosophical institution? -- Philosophy and poetry -- The philosophical recourse to the poem -- Mallarm's method : subtraction and isolation -- Rimbaud's method : interruption -- Philosophy and mathematics -- Conference on subtraction -- Truth : forcing and unnameable -- Philosophy and politics -- Philosophy and love -- What is love? -- Philosophy and psychoanalysis -- Subject (...) and infinite -- Antiphilosophy : Lacan and Plato -- Writing of the generic -- Writing of the generic : Samuel beckett. (shrink)

Overture -- Jacques Lacan -- Georges Canguilhem and Jean Cavaillès -- Jean-Paul Sartre -- Jean Hyppolite -- Louis Althusser -- Jean-François Lyotard -- Gilles Deleuze -- Michel Foucault -- Jacques Derrida -- Jean Borreil -- Philippe Lacoue-Labarthe -- Gilles Châtelet -- Françoise Proust -- A note on the texts.

Le savoir circule, se transmet, s'échange. Soit! Toutefois, répété désormais à outrance, cela ne nous éclaire en rien sur son contenu. Comme s'il s'agissait de ne jamais s'interroger sur la valeur ou sur la vérité du savoir, pour éviter par là même de faire place à la conviction et à la controverse. C'est pourtant une question à laquelle ne peut se dérober une société démocratique qui, au titre de l'égalité de tous, prescrit le droit à l'éducation. Dans un dialogue souvent (...) passionné, philosophes et scientifiques nous aident ici à dissiper la confusion qui est aujourd'hui la nôtre. (shrink)

The Western metaphor of self-as-identity?as a static, inherently exclusive entity?has been instrumental, historically, to our radical separation from nature, and still hampers a reviving of genuine participation with nature. Suggesting an alternative to this metaphor (informed by literacy as technology), I explore the more nature-informed metaphor of dynamic, complex self-systems, involving both natural and human subsystems. Through this latter metaphor, I re-vision radical participation with nature: in the process of perception, in epistemology/ontology, and in the ways of indigenous, oral cultures. (...) This systems metaphor also sheds contrasting light on literacy-informed, Western ways. (shrink)

In this book a noted physiologist and neuroscientist introduces the concept of simplexity, the set of solutions living organisms find that enable them to deal with information and situations, while taking into account past experiences and anticipating future ones. Such solutions are new ways of addressing problems so that actions may be taken more quickly, more elegantly, and more efficiently. In a sense, the history of living organisms may be summed up by their remarkable ability to find solutions that avoid (...) the world's complexity by imposing on it their own rules and functions. Evolution has resolved the problem of complexity not by simplifying but by finding solutions whose processes--though they can sometimes be complex--allow us to act in the midst of complexity and of uncertainty. Nature can inspire us by making us realize that simplification is never simple and requires instead that we choose, refuse, connect, and imagine, in order to act in the best possible manner. Such solutions are already being applied in design and engineering and are significant in biology, medicine, economics, and the behavioral sciences. (shrink)

Theodor Fontane war von Kindheit an ein Bildernarr. Und so sind auch seine Romane grosszügig mit Bildern ausgestattet, und zwar wortwörtlich: in Sprache übertragen und in Literatur verwandelt. Manchmal ist es nur eine Anspielung, zuweilen bloss ein Werktitel oder Künstlername, dann wiederum werden mit wenigen Sätzen Gemälde gleichsam reproduziert. Von Sternbildern bis Briefmarken, von Meissner Nippes bis zu Deckengemälden reichen die Bildbeispiele, die in den Romanen genannt, vom Erzähler und seinen Figuren erinnert, diskutiert, gekauft, vererbt, geschaffen und zerstört werden. Alle (...) wichtigen Geschehnisse und Themen spiegeln sich in Bildern, mit Bildern lernen sich Figuren kennen und lieben, wegen Bildern zerstreiten und trennen sie sich. Fontane hat in seinen Romanen an über 1 500 Textstellen Bildmotive eingearbeitet: Porträts, Wappen, Orden, Ornamente, Denkmäler oder Heiligenbilder schimmern wie Wasserzeichen durch seine Texte hindurch. Viele dieser Bilder sind jedoch für heutige Leserinnen und Leser?verblasst?, ihr ikonografischer Gehalt ist kaum noch gegenwärtig. Die Erkundungen des Lese- und Bilderbuches führen insofern oftmals durch Terra incognita. Dabei ist es nicht nötig, Fontanes Werke zu kennen, um der Tour durch sein Musée imaginaire folgen zu können. Diese navigiert durch den gesamten Raum seiner Geschichten wie durch einen einzigen Riesenroman und geht den Motivlinien und Mustern nach, die der Autor gesetzt hat, etwa den Bildern der Liebe, der Macht und des Todes, den Bildern des Wissens und den neuen Bildmedien des 19. Jahrhunderts. (shrink)

One of the admirable purposes of the current anthology is to attempt a dialogue between professional philosophers of biology and biological scientists. This is indeed an ambitious undertaking, because although the former group pays a lot of attention to the latter, active scientists rarely pay heed to what the philosophers of biology, or even of science in general, have to say. The current paper is an attempt to address some reasons why this might be so from the bench-level view of (...) a biological scientist who has only a superficial acquaintance with the philosophy of science. Any excursion out of the confines of one’s professional discipline, such as the current one, generates the healthy fear that the exercise will end up in humiliation for the fool who attempts it. I have, perhaps foolishly, overcome this fear in the spirit of this symposium, with the hope that my more glaring errors of interpretation of the philosophy of science will be forgiven by the professional philosophers reading this paper, in the interest of establishing a dialogue. (shrink)

The following account is based on the idea that metaphors are not only illustrative but constructive: they connect things and create new meanings that would not exist without them. The tricky point seems to me that metaphors are unavoidable, yet can only be determined situatively, because they are the result of complex transfers of meaning. In order to make these assumptions plausible, I will use some examples from the history of microbiology, especially from the discourse of the parasite.

Alain Badiou is arguably the most significant philosopher in Europe today. Badiou’s seminars, given annually on major conceptual and historical topics, constitute an enormously important part of his work. They served as laboratories for his thought and public illuminations of his complex ideas yet remain little known. This book, the transcript of Badiou’s year-long seminar on the psychoanalytic theory of Jacques Lacan, is the first volume of his seminars to be published in English, opening up a new and vital (...) aspect of his thinking. In a highly original and compelling account of Lacan’s theory and therapeutic practice, Badiou considers the challenge that Lacan poses to fundamental philosophical topics such as being, the subject, and truth. Badiou argues that Lacan is a singular figure of the “anti-philosopher,” a series of thinkers stretching back to Saint Paul and including Kierkegaard and Nietzsche, with Lacan as the last great anti-philosopher of modernity. The book offers a forceful reading of an enigmatic yet foundational thinker and sheds light on the crucial role that Lacan plays in Badiou’s own thought. This seminar, more accessible than some of Badiou’s more difficult works, will be profoundly valuable for the many readers across academic disciplines, art and literature, and political activism who find his thought essential. (shrink)

This volume, assembled with the collaboration of the author, presents for the first time in English a comprehensive outline of Badiou's ambitious system.

Discusses Locke's life and views and their impact on American philosophy, as well as his role in the Harlem Renaissance.

For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiouʹs account of cinema. He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the movement (...) of thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people -- a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras. -- Publisher description. (shrink)

Les idées ici proposées ne dépendent point de quelque idée supérieure d'abord posée, et ne conduisent même point à quelque notion commune qui puisse définir tous les arts en peu de mots. Au contraire je me suis attaché à marquer les différences, les séparations, les oppositions, me réglant ainsi, autant que peut faire la critique, sur les oeuvres elles-mêmes, dont chacune s'affirme si bien et n'affirme qu'elle.

Daniele Hervieu-Léger and Marcel Gauchet explain that today the hold that the religious dimension has always exerted over human societies is, of very recent date but definitely, slackening; that it is becoming ‘hollow’ and ceases to inspire collective action, leaving henceforth wide open the question of knowing in which name we should attempt to take our destiny in our hands and base the norms of collective being. This question at once summons up another, implicitly contained in the latter: is every (...) ethical norm (or moral norm, for we are not making a distinction between the two concepts here) ultimately religious in origin, as is most often supposed, or can one in fact conceive of sketching the outlines of a moral code that is immanent within the social relationship, a moral code that is sufficiently coherent and self-consistent to do without, at least in theory, a religious-type transcendence? Here, I should like to make a case for the second response by emphasizing that religion - whatever meaning one bestows on this notion, still undefined today - does not constitute the primary, irreducible social and historical fact that is most often supposed, but that it should itself be interpreted as the formulation of a more original and more universal formulation: the threefold obligation of giving, receiving, and repaying distinguished by Marcel Mauss in his famous Essay on the Gift. Of course, I shall not claim here to do more than sketch a few possible lines of argument. But even before formulating them, I must call to mind two prejudicial objections that my argument has encountered. (shrink)

The sociology of knowledge is faced with a problem of historical temporality that it has carefully avoided up until now. The subject has been avoided or ignored because a discussion of it in depth would run the risk of questioning all modern scientific thought. The problem is that of the concept of absolute time as it is used in evolutionist theory. In this category of theory I include not only social evolutionism, abused for a long time and recently reanimated by (...) the “socio-biologists,” but also biological, paleontological, geological and other types of evolutionism, that is, those qualified as “scientific.”. (shrink)

(2006). Democratic Deliberation in a Multinational Federation. Critical Review of International Social and Political Philosophy: Vol. 9, No. 3, pp. 419-444.

Published in 1973, "L'Etourdit" was one of the French philosopher Jacques Lacan's most important works. The book posed questions that traversed the entire body of Lacan's psychoanalytical explorations, including his famous idea that "there is no such thing as a sexual relationship," which seeks to undermine our certainties about intimacy and reality. In There's No Such Thing as a Sexual Relationship, Alain Badiou and Barbara Cassin take possession of Lacan's short text, thinking "with" Lacan about his propositions and what (...) kinds of questions they raise in relation to knowledge. Cassin considers the relationship of the real to language through a Sophist lens, while the Platonist Badiou unpacks philosophical claims about truth. Each of their contributions echoes back to one another, offering new ways of thinking about Lacan, his seminal ideas, and his role in advancing philosophical thought. (shrink)