Une longue introduction précède les contributions de ces trois philosophes et théologiens à la querelle sur la distinction entre l'être et l'essence qui anima la Faculté de théologie de l'Université de Paris dans les années 1280.

Atlan (biophysics, U. of Paris) suggests that different rationalities with different domains of interest and legitimacy (which cannot be unified in any theory of "ultimate reality") must coexist in practice, although each of them presents ...

This article appeared originally in L'EUROPE en formation, No. 238, Juillet-Aout 1980 and is here reprinted with the permission of the author and editor. Presses d'Europe, Paris.

Critical edition of the earliest known astrological autobiography. The present book reveals the riches of the earliest known astrological autobiography, authored by Henry Bate of Mechelen (1246-after 1310). Exploiting all resources of contemporary astrological science, Bate conducts in his Nativitas a profound self-analysis, revealing the peculiarities of his character and personality at a crucial moment of his life (1280). The result is an extraordinarily detailed and penetrating attempt to decode the fate of one's own life and its idiosyncrasies. The Astrological (...) Autobiography of a Medieval Philosopher offers the first critical edition of Bate's Nativitas. An extensive introduction presents Bate's life and work and sheds new light on the reception and use of Greek, Latin, Arabic, and Hebrew texts among scholars in Paris at the end of the 13th century. The book thus provides a major new resource for scholars working on medieval science, autobiography, and notions of personhood and individuality. (shrink)

"The legendary Cava di Gioia quarry in Carrara, Italy, was the source of the luminous white marble used by Michelangelo, Bernini, Henry Moore, and other renowned sculptors.... Wylie is the first photographer to extensively document Cava di Gioia since Ilario Besi... For six years, Wylie photographed the changing landscape of the quarry, and his images capture the intense physical scale of the site, the dramatic setting, and the character of the stonecutters, or cavatori, who have worked the quarry for generations."--Book (...) jacket flap. (shrink)

This Elibron Classics title is a reprint of the original edition published by Librairie Hachette et C-ie France in Paris, 1907.

Cet entretien réalisé le 30 novembre 1999 à Paris présente l’évolution de la philosophie de Michel Henry, depuis L’essence de la manifestation jusqu’à l’Incarnation. Il s’agit de présenter le projet, la place et la centralité de L’essence de la manifestation dans l’œuvre de M. Henry, puisque c’est dans cet ouvrage qu’il a mis au jour les présuppositions de sa phénoménologie de la vie et de l’intériorité subjective, présuppositions qu’il fera travailler dans tous les ouvrages qui lui succéderont, ceci jusqu’à (...) L’incarnation. Elle s’oppose à une phénoménologie du monde, de l’extériorité et de l’objectivité. Son concept central, celui de chair, pense la matière affective du Soi, c’est-à-dire du corps subjectif. Il est inséparable d’une thèse : à savoir que la corporéité (rapport au corps) est antérieure à l’intentionnalité (rapport au monde). Une phénoménologie du corps subjectif est donc apte à saisir la vie dans son immanence. Elle conduit à une archéologie de la chair dans l’Incarnation, analyse de la matière constituante de la vie qui précède et habite toute intentionnalité. (shrink)

De la spontanéité révolutionnaire, je dénnerai une prèmiere définition, extrêmement sommaire, qu'il faudra affiner. La spontanédité, c'est un mouvement et un événement qui ont des causes, qui ont des conditions, qui ont des raisons et des motivations, mais qui tendent a les deborder et à les dépasser. La spontan´ité constitue une expérience politique.

"Was ist das Wesen des Lachens? Was steckt hinter dem Lächerlichen? Was haben die Grimasse eines Clowns, ein Wortspiel, eine Verwechslung in einem Schwank, eine geistvolle Lustspielszene miteinander gemeinsam?" In seinem elegant geschriebenen Essay 'Das Lachen', der 1900 in drei separaten Aufsätzen in der 'Revue de Paris' erschien und ein Jahr später sehr erfolgreich als Buch veröffentlicht wurde, entwickelt Henri Bergson eine Theorie des Komischen als soziales Verhältnis. Er konzentriert sich dabei vor allem auf das Auslachen: Unter drei (...) verschiedenen Aspekten (Bewegungskomik, Situations- und Wortkomik, Charakterkomik) untersucht Bergson an vielen Beispielen, weshalb uns etwas lächerlich erscheint, und stellt fest, daß es stets der Übergang vom Lebendigen zum Mechanischen, zum Automatismus, bzw. das 'Mechanische im Lebendigen' ist, das zum Lachen reizt. 'Das Lachen' behandelt bereits 'in nuce' die Frage, um die Bergsons gesamtes Werk kreist: wie das Lebendige, das 'Werden' angemessen beschrieben werden kann, ohne in die Begrifflichkeit der klassischen repräsentationslogischen Philosophie zurückzufallen. Weil das 'Lachen' darüber hinaus eine Theorie künstlerischer Kreativität enthält, wurde Bergson mit diesem Buch zum Propheten einer ganzen Generation symbolistischer Künstler und Literaten. Der Text wurde von Roswitha Plancherel-Walter ins Deutsche übertragen; der Band enthält im Anhang Bergsons Nachwort zur 23. Auflage von 1924. (shrink)

Guy Petitdemange, actuel et talentueux rédacteur en chef de la revue Archives de Philosophie, publie dans ce gros volume quelque vingt-trois articles parus entre 1972 et 1999, concernant Rosenzweig, Benjamin, l’École de Francfort, Levinas, Ricœur, Derrida, de Certeau, ainsi qu’un inédit consacré à Merleau-Ponty. C’est donc à une traversée significative de la philosophie du XXe siècle qu’il nous ouvre, ou plutôt à une rencontre des philosophes, dans la singularité de leurs positions respective..

Revue de Paris Translated by Sheldon Huggins.

Authors and printers together created the New Book of Nature—the printed literature of science—in early modern Europe. Careful attention has been given in recent years to the development of literary and rhetorical techniques in science. This article proposes that these developments were linked to printing technology and the typographic culture that produced the early printed book of science. We focus on several cases in which the roles of author and printer-publisher were joined and thereby highlight connections between knowledge production and (...) reproduction during the Scientific Revolution. Examples include Regiomontanus, Tycho Brake, Galileo, William Leybourn, Joseph Moxon, and the collective practices and privileges of the Royal Society of London and the Paris Academy of Sciences. (shrink)

Poetry turns everything into life. It is that form of life that turns everything into language. It does not come to us unless language itself has become a form of life. That is why it is so unquiet. For it does not cease to work on us. To be the dream of which we are the sleep. A listening, awakening that passes through us, the rhythm that knows us and that we do not know. It is the organization in language (...) of what has always been said to escape language: life, the movement no word is supposed to be able to say. And in effect words do not say it. That is why poetry is a meaning of time more than the meaning of words. Even when its course is ample, it is contained in what passes from us through words. It does not have the time of glaciers and ferns. It tells about a time of life. Through everything that it names. Even its haste transforms. Since it is a listening that compels a listening.But traditionally poetry suffers from the effect of the separation between the order of language and the order or disorder of life. It is that the order in which the thought of language is found is an order against chaos. The fabulous is not found in chaos. It is found in order. A mythic thought about language is charged with the maintaining of order. Thus there is an impassable barrier between poetry in terms of life and language in terms of the forms of poetry. Its meters and its rhymes. That is what we have to think about. Through and for poetry, language, life. Against sentimental poetizations of poetry and of life. As much as against formalizations. Henri Meschonnic is professor of linguistics at the University of Paris—VIII at Vincennes. His penultimate book of poems, Voyageurs de la voix , was awarded the Prix Mallarmé. His other books include Critique du rythme, anthropologie historique du langage and Modernité, modernité . Gabriella Bedetti, associate professor of English at Eastern Kentucy University, is completing A Meschonnic Reader. (shrink)

Ce texte est paru originellement dans le n° 56 de la revue Langue française, Paris, Armand Colin, 1982. Il constitue l'introduction d'un dossier tout à fait remarquable intitulé « le rythme et le discours » et comprenant, outre un article de Meschonnic lui-même, un entretien avec Antoine Vitez et des textes de Pierre David, Jacques Réda, Michel Deguy, Michel de Fornel, Christian Hervé et Paul (...) - Linguistique et théorie du langage.

Ce texte a déjà paru dans la revue Langue française, n° 56, Paris, Armand Colin, 1982, p. 6-23. L'oralité devient à la mode. Ainsi, soudain, en apparence, des convergences précipitent, cristallisent. Il y a vingt ans c'était le structuralisme. Aujourd'hui, c'est l'oralité. C'est aussi, même si le rapprochement paraît incongru, le judaïsme. Le rapprochement n'est pas incongru. On le verra. Posez à la première personne que vous rencontrez la question : qu'est-ce que pour vous les te‛amim ? Vous réussirez (...) (...) - Linguistique et théorie du langage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ADOLESCENCE, INDIFFERENTIATION, AND THE ONSET OF PSYCHOSIS Henri Grivois Hôtel-Dieu, Paris The onset of psychosis happens, by definition, only once. The first psychotic episode is unforeseeable and risks being overlooked. Left to itself its future is uncertain, and the prognosis is potentially unfavorable. The variety of its manifestations as well as its thymic and cognitive instability explains why so little is written on this subject. The psychiatric (...) literature, by its almost exclusive reference to evolved psychoses, has not distinguished the qualities peculiar to the onset of psychosis (nascent psychosis). Yet recent research reflects an interest in early diagnosis of psychosis to secure qualitative improvements and the chance ofa favorable outcome for patients. A special approach must be used for patients during the stage of nascent psychosis. Something must be done, but early treatment is not enough. Psychotropic medication has no more than a sedative effect and there are few specifics at this stage (Swain 175). Further, one risks obliterating the patient's lived experience. The entire battery of interventions, above all the first consultations, must follow from a rigorously organized and intensive strategy to directly engage with this subjective experience. For many years at l'Hôtel-Dieu, a general hospital situated in the center of Paris, we have harnessed ourselves to this task. First I shall describe the existence of centrality. It constitutes the most characteristic and permanent trait of the onset of psychosis. From the concept of concernment, I propose a phenomenological morphogenesis of the initial sequence of psychosis. Next I turn to the state of indifferentiation that overcomes the subject, and then to the vulnerability peculiar to adolescents. I shall end with some fundamental epidemiological data. Henri Grivois1 05 Centrality To be mad is not only the feeling of being uniquely in contact with all humanity, whether as alienated from it or as uniting all of it in oneself conceived as the only member of the species. It is this certainly but also more than this. It is to infer that one occupies a unique place in the human world. It is the feeling of being encircled by everyone. Without being responsible, the patient is placed in the forefront of some grandiose project. His centrality, whatever the mode ofexpression, orients him towards a form of mental disorder. As a general rule, at the beginning, centrality is never explicit and passes unnoticed. The physical and verbal behavior of the patient suffice to accuse him, without any further investigation, of unintelligibility and incoherence. Centrality is above all an emotion about which we should admit that we know almost nothing. People with nascent psychosis are the prey of intuitions impossible to comprehend. Like Rimbaud's drunken boat, they flee, drifting or hiding themselves, coming back and taking offagain. They are therefore incapable, wherever they go, of living an instant of unconcern. Incapable of expressing their singular rapport with the world, they keep silent. Very soon nevertheless centrality engenders a torrent of questions. Silently, voicelessly, patients apprehend in an almost automatic manner the responses to these questions in the verbal and gestural behavior of others. Since Esquirol (Gauchet and Swain 464) identified hallucinatory phenomena as the cause of psychosis, they have occupied a disproportionate place in mental science for 200 years. This construction of the concept of hallucination in psychiatry, key to the orthodox vision of psychosis, assures a watchful vigilance to rule out every non-symptomatic treatment ofpatients. Hours or perhaps days later, no longer capable of abstaining from interpretation, patients begin to sketch out an explanation ofthe prodigious situation which they have experienced. They interrogate their relation to others and the intentions and the degree of unanimity of people towards them. Invoking demons and monsters often gives their explanations a first coherence which is in harmony with the scale of their experience. On their side the psychiatrists, to facilitate verbalizing the experience, suggest paraphrases of a general order: influence, mental automatism, exterior action, xenopathia, etc. To mask centrality, to get away from it, or in response to the gravity of the event, the patients, in search of some responsibility, envisage more elaborate scenarios: mission, conspiracy, trial, condemnation. A political vocabulary, more plausible but less universal than a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Discussions NOTE SUR G. SEBBA,"A 'NEw' DESCARTESEDITION?"* Puisque le titre du tr~s int~ressant article: "A 'New' Descartes Edition?" contient un point d'interrogation, donnons imm~diatement la r6ponse: non, il ne s'agit pas d'une 6dition vraiment "nouvelle." Le professeur Gregor Sebba a tr~s exactement expos6 les raisons qui justifieraient une "nouvelle ~dition": le projet de la Librairie Vrin pretend simplement ~tre une solution empirique et provisoire. Des professeurs et (...) des chercheurs ont actuellement besoin de l'6dition Adam et Tannery pour pr6parer des cours ou des theses ou des articles: on va leur procurer les onze 1 volumes sous un format plus commode, certains ~tant divis~s en deux tomes; avec le concours de Centre National de la Recherche Scientifique, nous esp6rons que le prix de vente de chaque tome ne sera pas trop 61ev6; enfin, si minutieuse que soit la r6vision, rien n'empdchera une publication rapide. IIne peut &re question de commentaires. Mais, par des cahiers suppl6mentaires ajout6s ~t chaque volume et particuli~rement importants pour les tomes de la Correspondance, le lecteur saura tout ce que l'6rudition contemporaine ajoute, depuis 1913, ~ notre connaissance des textes cartesiens. Bien entendu, on reprendra ce que L6on Roth a apport6 sur la correspondance de Descartes avec Huygens. M. Bernard Rochot fera entrer darts les appendices tousles 616merits actuellement connus de la future 6dition critique que souhaite M. Gregor Sebba. Quant,h cette 6dition critique, elle est une oeuvre de longue haleine. I1 conviendrait, en particulier, de reviser les notices qui pr6sentent chaque lettre, d'op6rer un s6rieux contr61e des dates propos6es, de reprendre l'6dition des textes du t. X comme le demande M. Gregor Sebba. Tousles historiens de Descartes souhaitent qu'un nouvel Adam et un nouveau Tannery se chargent d'un travail aussi utile. Mais ceux que la Librairie Vrin a consuh~s ont pens6 que, en attendant, une r6-6dition de l'"Adam et Tannery," mis "hjour, si l'on peut dire, ~3tait devenue indispensable. HENRI GOUHIER Paris, France 9 Journal o[ the tlistory o[ Philosophy, Vol. I, No. 2 (1963), pp. 231-236. xII n'est pas question de r6-6diter let. XII, c'est.h-dire la Fie de Descartes par Ch. Adam. [71]... (shrink)

I have been encouraged by John Range, as part of the preparation for my talk in Paris on May 20 to some French philosophers, to look into Kant's position. This look has been a very brief one, considering the enormous amount written on the subject, so maybe I can get some useful corrections from this group..

But Joyce did not want his hero to be either Greek or English: he wanted him to be Jewish. To that end, a third archetype, and an actual historical person, comes in: Baruch Spinoza. That Joyce himself was acquainted with Spinoza from fairly early in his career seems indubitable. In 1903 he mentioned him twice in a review of J. Lewis McIntyre's Giordano Bruno.1 Also in 1903 Joyce met Synge in Paris, and the two argued about art. Synge finally (...) told Joyce, who was at this time forging his ironclad esthetic in Aristotelian or Thomistic terms, that he had a mind like Spinoza, a remark that Joyce passed on, presumably with some pride, to his mother and his brother. These are the only times in Joyce's life of which there is any published evidence of a connection between Spinoza and Joyce, and yet, as all readers of Ulysses know, Spinoza is Bloom's philosopher, and in Ulysses as a whole Spinoza plays a greater role than any other philosopher, including Aristotle and St. Thomas who appear, surprisingly, rarely and always, with one exception, in the Stephen Dedalus context. Spinoza is also a presence in Finnegans Wake. The appeal of Spinoza to Joyce both as a man and as a mind must have been considerable. · 1. How well Joyce knew Spinoza at this time is problematical. His review of McIntyre's book, entitled "The Bruno Philosophy," published in the Dublin Daily Express, 30 Oct. 1903 , is done in English style, that is, the reviewer makes assertions as if they were his own when in fact they come from the author of the book under review. Thus when Joyce says, "in his attempt to reconcile the matter and form of the Scholastics . . . Bruno had hardily out forward an hypothesis, which is a curious anticipation of Spinoza" , he is only saying what McIntyre himself had said, as the editors of The Critical Writings point out.In point of fact there is nothing "curious" about Bruno being a precursor of Spinoza. One of Spinoza's early mentors, Francis Van den Ende, introduced him early on to the philosophy of Bruno, who thus became one of the formative influences on Spinoza's thought. John Henry Raleigh, professor of English at the University of California at Berkeley, is the author of Matthew Arnold and American Culture; Time, Place, and Idea: Essays on the Novel; and a forthcoming book on Joyce, The Chronicle of the Blooms: "Ulysses" as Narrative. He is currently writing a book on Sir Walter Scott, "Ivanhoe" and Its Times. (shrink)

En 1990, s'est tenu a Lyon le premier colloque explicitement consacré à Henri Maldiney. L'idée était de lui donner la parole, mais seulement après avoir entendu quelques-uns de ses anciens étudiants et de ses plus proches amis (Jacques Schotte, André du Bouchet, Roland Kuhn), réunis autour de questions centrales pour chacun d'eux. Encre Marine a publié les meilleures pages provenant de ces journées dans Existence : crise et création. En 2012, Henri Maldiney a eu cent ans. L'Association Internationale (...) Henri Maldiney (AIHM) a réuni un colloque d'une journée à Lyon organisé avec la Faculté de Philosophie de l'Université Jean-Moulin, là où Henri Maldiney a longtemps enseigné (dont les actes sont à paraître) et un autre de deux journées à Paris, rue d'Ulm, là où Henri Maldiney a été étudiant, organisé avec les Archives Husserl. Les contributions ici réunies montrent comment l'oeuvre de Maldiney est aujourd'hui lue à la fois par quelques-uns qui accompagnent son travail depuis longtemps déjà et par de tout nouveaux lecteurs - ce qui témoigne de la diffusion de sa pensée. Certains ont pu dire que, désormais, on peut lire Henri Maldiney "comme un classique". La reprise du texte de Maldiney Existence : crise et création " montre que décidément, même dans le retrait lié au grand âge, Henri Maldiney continue, à travers son oeuvre, d'exercer une singulière présence. (shrink)

Paris. The Place de Grève is teeming with the city's idle seeking relief from their boredom. Street-singers, story-tellers and showmen are encircled by groups of people in varying moods—some sullen, others eager, some distracted, others attentive. Sweets vendors, mercers and lampoonists attract customers by their words and gestures. A little apart from the crowd, men with grave faces seem to be waiting for something: they are the unemployed, keeping an eye out for a possible hirer. On some days a (...) drumroll precedes several men-at-arms escorting a condemned man and his executioner to the place of execution; the festive atmosphere turns suddenly somber, the crowd becomes silent. If scattered jeers and taunts are heard, more often than not it is just to relieve the tension.The Place de Grève gave its name to the French word for strike, greve. And perhaps something still remains of the liveliness of that gathering-place in today's strikes. The Spanish word for strike, huelga, is near to juerga, Spanish for amusement or diversion. The English “strike,” the German streik, the Italian sciopero, all connote fighting, an exchange of blows. The words themselves thus suggest that a strike may be both militant and festive. (shrink)