At the center of_ In Dark Again in Wonder_ are readings of René Char and George Oppen. Both of these poets achieved recognition at a young age, Char among the French surrealists in the 1930s, Oppen among the American objectivists in the same decade. Both were independent individuals who, having found their way to communities of inventive writers, stepped back and shaped their own idiosyncratic paths. Both responded decisively to the social upheavals of the 1930s and ‘40s. Oppen (...) committed himself to radical politics in the ‘30s, a decision that, as it turned out, led to his not writing poetry for nearly twenty-five years. Char fought in the Resistance in the '40s. Both, in their mature work, developed a kind of poetry that is at once a love poetry, a meditative poetry, and a poetry of encounter. The concluding chapter of the book places the questions raised by Char’s and Oppen’s work in a larger context, tracing the cultural history that shapes our modern experience of inhabiting a tension between an historical and a metaphysical horizon of experience, or, as this appears in a different but related light, a tension between a sociological and an existential understanding of our lives. Char and Oppen are both poets concerned with the old philosophical questions that are still with us—the nature of spiritual freedom, the gathering of the self in relation to death, the meditation on the whole, the turn to Nature as the open space of the whole under the conditions of modernity, the clarification of the ground of vision in eros and love, and the search for the good life—while at the same time they fully engage the social predicaments and promises of their world. "A brilliant, philosophical, and aesthetic approach to twentieth-century poetry that casts important light on the great poetic works of René Char and George Oppen. Revealing the ongoing role of wonder in the post-Romantic tradition, it points to two remarkable poets whose work embodies imagination in the knowledge of inevitable loss, renewal in the awareness of despair. This is a book worth reading for its insight into two poets and the larger literary and philosophical currents in which they lived and worked." _—Sandra L. Bermann, Princeton University_ "This is a brilliant, erudite, beautifully written, and compelling book, one that makes an important contribution to our understanding not only of the two poets on whom it focuses but of the period they inhabit and that we, as their inheritors, continue to inhabit. Robert Baker wears his considerable learning lightly, but he has deep knowledge both of the history of European and American poetry and of the history of philosophy. He has thought deeply and passionately about poetry, philosophy, history, and the ways in which they intertwine." —_Henry Weinfield, University of Notre Dame_ "Robert Baker has written a fine and unusual book: a study of two remarkable poets, one French and the other American, and a concluding reflection of considerable literary and intellectual reach on the gap between history and metaphysics in which both poets found themselves and in which we still subsist. Bake'rs style is synthetic, magisterial, drawing on a capacious knowledge of literature and the history of ideas." —_Kevin Hart, University of Virginia_. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:SubStance 32.3 (2003) 109-132 [Access article in PDF] Passages Beyond the Resistance:René Char's Seuls demeurent and its Harmonics in Semprun and Foucault Van Kelly —Les actions du poète ne sont que la conséquence des énigmes de la poésie. —Le poète ne jouit que de la liberté des autres. René Char Spanish-born writer Jorge Semprun, in his memoir of deportation to Buchenwald, L'écriture ou la vie (1994), tells (...) how in spring 1945 he first came to read what is arguably René Char's first influential book of poetry, Seuls demeurent, and to recite on the liberated camp's assembly ground one of the keynote poems of the collection, "La liberté," as an emblem of his survival. Although Char had published several collections prior to World War II, Seuls demeurent was a major sign that something had changed in his poetry and politics, that he was about to entrer dans la carrière, to borrow the phrase that historian Olivier Wieviorka uses to describe the political and cultural ascension of French resisters in the postwar era. 1 A Gaullist officer, Marc, present at the liberation of Buchenwald in mid-April 1945, gave a copy of Seuls demeurent to Semprun, who had been deported for resistance activities in France. Semprun immediately felt that this book transcended what better-known writers had published from the late 1930s through early 1944, when he lost contact with a French literary scene he knew well (L'écriture, 79-87).Indeed, Seuls demeurent resonated so strongly in the post-Liberation years that it furnished a major reference point in Foucault's preface to his Folie et déraison (1961), where the philosopher links his own critique of social repression with Char's "Partage formel," the poetic sequence of aphorisms that concludes Seuls demeurent. Without mentioning his source (either poet or title of the poem), Foucault quotes from aphorism XXII, where Char praises the uncanny murmur he calls "étrangeté légitime," 2 and where we might hear the whispers of the Resister's legitimate revolt against repression as well as a legitimate strangeness or new self-assertive idiom within poetry. [End Page 109]It is interesting that Semprun and Foucault route their early encounters with Char's writing through the more explicitly poetical Seuls demeurent, and not through Feuillets d'Hypnos, a series of maxims, action portraits, and homages published in 1946 inGallimard's « Espoir » series, directed by Albert Camus, Char's friend. In Feuillets d'Hypnos, Char described, aphoristically more than anecdotally, his experience in the southern French Resistance. Seuls demeurent (and eventually other poems in a similar vein from his 1948 compendium Fureur et mystère, into which Seuls demeurent was merged alongside Feuillets d'Hypnos) purveyed Char's most lasting political and ideological impact on the generations represented by Semprun and Foucault.To understand how Seuls demeurent and the liberational poetics it initiated might spur two such nonconformist yet widely divergent left intellectual projects—Semprun's politique fiction, which resulted in novels like La deuxième mort de Ramón Mercader (1969), and Foucault's archeologies of social control—we must try to read Char's work back into the immediacy of its era, with the help of historians like H.R. Kedward, Henri Michel and others, despite the fact that Seuls demeurent is striated with discernible secondary work—the displacements and condensations that the Occupation and Liberation induced in its survivors and itinerants. Semprun and Foucault, in their quotations from Char's poetry, attest to the sense of personal empowerment that his voice effected. Perhaps something in his poetics, especially its mode of interaction with history, anticipated such readers.I will explore these ideas by showing, first, how in Seuls demeurent Char's poetic re-enactment of his passage through WWII foregrounds historical events and violence, but privileges poetry as a means of giving overriding sense to the war, and more specifically to the French internal Resistance, to the extent that it was morally distinct (if not always organizationally severed) from De Gaulle's external... (shrink)

« Retour amont » – le sens de cette formule, titre d’un ensemble de poèmes de René Char repris dans Le Nu Perdu, s’éclaire à la lumière du travail de Giacometti, à qui le poète avait demander d’enluminer son recueil. Dans l’eau-forte « L’homme au bord du précipice regardant dans le vide », le trait ardoisé de Giacometti, émergeant d’une opacité noire, vibre au plus près de l’intention poétique de Char : « Retour amont ne signifie pas retour (...) aux sources. Il s’en faut. Mais saillie, retour aux... (shrink)

Explores Blanchot's philosophical meditation on three poets, Mallarmé, Hölderlin, and René Char alongside his contribution to Jewish philosophy.

Si vous n'aimez pas les chiens, si la peine de vie vous semble aussi discutable que la peine de mort, si vous ne vous esclaffez pas quand on rajoute des moustaches à la Joconde, si vous souhaitez la béatification de Monica Lewinsky, si l'art post-moderne vous paraît nullisime, si vous considérez que, pour faire partie d'une commission d'éthique, il faut être un salaud, si vous n'êtes pas un inconditionnel de Marcel Duchamp, de Marguerite Duras, de René Char, de Georges (...) Brassens ou d'Olivier Messiaen, si vous tenez l'horoscope pour une niaiserie, l'homéopathie pour une charlatanerie, le patriotisme pour une infamie et les supporters sportifs pour des Untermensch, alors vous êtes atypique et vous vous exposez à quantité d'embêtements. mais vous trouverez peut-être une consolation dans ce livre. Si, au contraire, vous êtes politiquement correct, vous y trouverez prétexte à fourbir vos armes. Et dans l'hypothèse improbable où vous ne seriez ni correct ni abject, il vous aidera à rejoindre la réalité. (shrink)

L'Occident des Temps Modernes a privilégié la représentation linéaire du temps. Sur cette ligne du temps qui continûment s'écoule, l'instant succède à l'instant, dans l'imminence d'un futur qui condamne rapidement le présent à devenir déjà passé. Dès lors, pour maîtriser ce temps qui passe et fuit, sous l'instance de la mélancolie, il a fallu inventer des systèmes de mémoire, des techniques de reproduction, des prothèses d'image. Ainsi est née, dans sa signification moderne, la culture, qui vise à rassembler la création (...) humaine, à organiser la mémoire, à former l'héritage de la tradition. S'il est vrai que la pensée critique s'est attaquée, depuis longtemps, aux limites et même aux dangers d'une telle entreprise, elle s'est cependant bien peu interrogée sur la relation que l'idée de culture entretient avec cette conception linéaire du temps. Répondant au souci de stabiliser le passé, de le conserver sous le signe de l'identité, et de le sauver au nom de l'esprit, la culture s'est finalement instituée comme un monde autonome, rationalisé, intellectualisé, idéalisé, dont la toute-puissance s'affirme davantage encore sous son visage contemporain industriel, technique et institutionnel. La culture devient ainsi un péril pour ce qu'elle prétend transmettre, parce qu'elle méconnaît le sens de la finitude, laquelle, au coeur de l'expérience du temps et du monde, constitue le creuset de la vie des oeuvres : la culture "oublie" en l'homme son essentielle dimension d'être mortel. De fait, le temps n'est pas une ligne, mais un noeud : "le noeud de notre condition" (Pascal). Et, comme tel, le temps est une épreuve, une épreuve d'existence, dont la création, selon tous ses modes, tente d'assumer la construction symbolique. Seule l'imagination, liée à la reproduction bien comprise, permet d'entrer dans ce noeud, dans "la boucle du Temps artiste" (René Char). Seuls des moments d'oeuvre, capables de lier le passé, le présent et l'avenir, sont en mesure de renouer la richesse de la mémoire au déploiement de la présence, en ouvrant le sens du devenir. Rassemblant une quinzaine de textes, distribués en trois chapitres "Fictions", "Reproductions", "Imaginations", cet essai souhaite contribuer tout ensemble à une critique de l'idée de culture, à une philosophie de la reproduction et à une éthique de l'oeuvre."--Page 4 of cover. (shrink)

Diese Ausgabe enthalt auch die in dem seit langerem vergriffenen Band "Vier Seminare" 1977 erstmals veroffentlichten Seminare, die Heidegger mit sieben franzosischen Gelehrten und dem Dichter Rene Char in Le Thor (1966, 1968 und 1969) und Zahringen (1973) abgehalten hat. Der Band fasst die zu Lebzeiten Martin Heideggers veroffentlichten Protokolle der Seminare zusammen, die er geleitet oder an denen er teilgenommen hat. Die Beschaffenheit der Texte ist verschieden, denn die Protokolle sind auf unterschiedliche Weise entstanden, wozu die Nachworte (...) das Nahere mitteilen. Der einzige Text, der eine eigene Handschrift Heideggers wiedergibt, ist die als "Nachtrag" zum letzten der "Vier Seminare" hier erstmals veroffentlichte Erlauterung zu einem Wort des Parmenides mit kurzer Vorbemerkung "Die Herkunft des Denkens". Eine Besonderheit des Bandes bilden die Textbeitrage, die von Seminarteilnehmern stammen, unter denen Eugen Fink mit der eigenen Heraklit-Interpretation den herausragenden Anteil hat. Die mit Franzosen abgehaltenen "Vier Seminare" vermitteln beilaufig einige Einblicke in Heideggers Beziehungen zum geistigen Frankreich und zu seinen wohl wichtigsten Freunden (und Ubersetzern), von denen Rene Char und Jean Beaufret am bekanntesten sind. Heidegger begegnet dem Leser hier im Dialog, als Leiter und Partner im Gesprach, dessen Wiedergabe oft eine eigene Lebendigkeit aus dem jeweiligen Eingehen auf die Teilnehmer gewinnt. Dieser andere Duktus der Texte unterscheidet die Seminare vom Stil der Vorlesungen und der veroffentlichten Schriften. Die Nachworte geben Aufschluss uber das Zustandekommen der einzelnen Seminare und der fruheren Protokoll-Veroffentlichungen; sie enthalten auch Hinweise auf die Teilnehmerkreise. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 142-154 [Access article in PDF] Critical Discussions The Fortunes of Avant-Garde Poetry Mary Anne O'Neil Invisible Fences. Prose Poetry as a Genre in French and American Literature, by Steven Monte; xii & 298 pp. Lincoln: University of Nebraska Press, 2000, $50.00. Modern Visual Poetry, by Willard Bohn; 321 pp. Newark: University of Delaware Press, 2000, $47.00. The situation of French poetry at the turn (...) of the twenty-first century is far different from what it was during the last fin de siècle. In 1900, poetry was a booming art, and France was home to numerous poets of varied inspiration and expression. The religious verse of Claudel and Péguy shared the attention of the reading public with the philosophical poetry of Valéry and the futuristic celebrations of Paris and modern life found in Apollinaire's Alcools and Calligrammes. Long poems, short poems, poems written in standard verse, free verse, prose, and even published as drawings, suggested that the golden age of poetry begun in the early nineteenth century by the Romantics and continued after 1850 by Baudelaire, Verlaine, Rimbaud, and Mallarmé, would not soon come to an end. This indeed proved to be the case, for the heirs of the Symbolist tradition of the first decade of the twentieth century were soon followed by the Surrealist revolutionaries of the 1920s and 1930s, many of whom directed their talents to the composition of political verse at the time of the Second World War. Political poetry by and large disappeared from France after 1950, only to be [End Page 142] succeeded over the next two decades by two very different types of verse. On the one hand, writers like St. John Perse and Pierre Jean Jouve produced difficult works whose appeal was limited to a sophisticated audience, while lyricists, such as Jacques Prévert and even the songwriter Georges Brassens, made poetry more accessible to the general public, often through popular songs. The fact that, during the days of May 1968, students scrawled verses of the Surrealist-Communist poet Paul Eluard on the walls of the Sorbonne to encourage efforts to bring down the social order attests to the power exerted by poetry on the intellectual life of France well into the second half of the twentieth century. Such, however, is no longer the case today. There are only two well-known living French poets, Francis Ponge and Yves Bonnefoy. While reviews dedicated to original poetry do still exist, especially in the south of France where the poetic arm of the French Resistance was most active in the 1940s, poetry attracts many fewer readers--and fewer writers--than it did even fifty years ago.Such a radical change merits some reflection. What has happened to French poetry since the mid-twentieth century? In a sense, all good things must come to an end sometime, and a century and a half of inventiveness and poetic energy may simply have run its natural course. French publishing houses, well aware that prose sells better than verse, have done little to encourage young poets. However, certain trends in the subject matter and form of contemporary French poetry have probably contributed to the current lack of interest. Since the end of the Second World War, French poets have concerned themselves almost uniquely with everyday life--common objects, geographical locales, and ordinary people. This obsession with the ordinary has produced some excellent poetry, especially René Char's evocations of Provençal landscapes and Yves Bonnefoy's treatments of childhood. Yet, this concentration on everyday life has severed poetry from the traditional subjects that have sustained it ever since classical antiquity, such as the celebration of heroic figures and heroic deeds, philosophical and religious inquiry, love, loss, prophetic vision. This very narrow range of subject risks consigning poetry to the status of a minor art. At the turn of the twenty-first century, French poetry also finds itself at the end of a very long period of formal experimentation that began in the second half of the nineteenth century and which includes... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Queer Coal:Genealogies in/of the BloodKathryn YusoffIntroductionAn inhuman equationA genealogical account of coal ± a solar line of descentSolar -/- plant -/- coal ≤ plant minor/miner ≠ bloodlineFossil fuels are dark and patient and have a history that is in/of the blood. Fossil fuels are pockets of sunshine that have a solar line of descent. Fossil fuels are a chemical “blood knowledge” (Cixous 1991, 103) that coheres at the seam, (...) coal face, plant, and picket line.A genealogical account of coal in the Anthropocene must go in two directions: into the specificities of bodies, sites, and political formations in which coal comes to matter and through inhuman agency and its continuance notwithstanding the human (as if the human, like Bataille has claimed, is a roundabout for energy, a mere diversion of the forces of the cosmos). If the global claim for geologic force in the Anthropocene is realised through the liberation of vast standing stocks of fossil fuels by major powers, then slicing through Anthropocenic monumentality requires a deliberately minor/miner cut, which is made here through underground passages, sexual politics, and queer solidarities to explore the inter-implications of substances and subjects in coal mining; explicitly, mining is considered as an aesthetics, method, and epistemology that elaborates on an inhuman sociality of the blood; it is a sociality whose passages are specifically located within the 1984–85 miners’ strike in Britain. I focus on these minor (Deleuze and Guattari 1983) stories of solidarity and violence amidst the broader landscape of coal as a defining social materiality in political, judicial, and class powers. While Anthropocenic [End Page 203] discourses claim a global instantiation on behalf of humanity, the planet, and the species-being, this blood knowledge of coal can be considered as an instantiation or a fleshy reminder of the geontological forces of black rocks and their inheritances; what René Char called “its reality of earth, its matter-emotion” (Char quoted in Blanchot 1995, 108) in the corporeal impregnation of an incorporeal universe. In these messy personal-political subjectivities that are entangled with fossil fuels, something might be said about how to begin to apprehend the geontological coordinates of the Anthropocene and the possible forms of sociality that the inhuman enacts (and incites) in ways that eschew its universalising claims.In this process of joining coal to its somewhat unexpected sociopolitical formations—in terms of queer and minoritarian support for the British coal miners—I want to say something about a biopolitics that is subtended by geology (and this is why there is/and will be/blood). This is a biopolitics that moves away from the governance of life and death into a consideration of how the geosocial formations of fossil fuels constitute the very possibilities for certain types of social, sexual, political, and labor arrangements. To study the geosocial matrix as it pertains to both power and possibility is not to add the geologic (or inhuman) as a supplement to an already existing biopolitical conceptualization. Rather, it is to register that the geologic is a mode of material expression that is already active within these formations, yet often bracketed out, and its political potential as a dynamic power within socialities, underplayed. Such an understanding of the permeable materiality of fossil fuels might just bear on the reconceptualization of the Anthropocene as an epoch characterized by a differentiated corporeal geology of/in the blood, rather than as a universal stratigraphic trace in some future geologic record.Against the Promethean trust of the Anthropocene, I follow Hélène Cixous’s dream in The Book of Promethea of “writing fire in the fire” (Cixous 1991, 134); an account made in proximity to the desirous intersection of experience. Such a mode of feminist geophilosophy seeks out the form of the underground—the underground as a way of being or a “thing state” (Lispector 2014, 109)—closing the gap between writing and being written. What follows is a fragmented genealogy that begins in the general conditions of inhuman matter and ends up in the specifics of the British coal mining strike in the 1980s. First, some mining methodology and Anthropocene drill sites.Some Drill Sites... (shrink)

Taking seriously Guillaume Apollinaire's wager that twentieth-century poets would one day "mechanize" poetry as modern industry has mechanized the world, Carrie Noland explores poetic attempts to redefine the relationship between subjective expression and mechanical reproduction, high art and the world of things. Noland builds upon close readings to construct a tradition of diverse lyricists--from Arthur Rimbaud, Blaise Cendrars, and René Char to contemporary performance artists Laurie Anderson and Patti Smith--allied in their concern with the nature of subjectivity in an (...) age of mechanical reproduction. (shrink)

Malgré a vue de toutes les misères qui nous touchent, et qui nous tiennent à la gorge, nous avons un instinct que nous ne pouvons réprimer et qui nous élève. Grandeur et misère, tel est l'incessant balancier qui rythme pour Pascal, toute vie humaine. Les extraits des Pensées présentés ici donnent une vision de notre condition qui, pour aussi sombre qu'elle puisse paraître, nous éclaire - souvent de façon fulgurante - sur notre humanité. "La lucidité est la blessure la plus (...) proche du soleil", chantait le poète René Char. Ces "pensées" en sont l'éclatante illustration. Les calligraphies de Richard Lempereur se veulent ainsi l'écho des perpétuels tiraillements et contradictions qui fondent la nature de l'homme. (shrink)

Poe’s influence on the Symbolists has been traced on many occasions, though not in detail. The classical study in English is Eliot’s “From Poe to Valéry,” a Library of Congress lecture delivered three years after Valéry’s death.2 Eliot defines Poe as irresponsible and immature—irresponsible in style, immature in vision. He had, Eliot comments, “the intellect of a highly gifted young person before puberty”; “all of his ideas seem to be entertained rather than believed” . How, then, we ask, did he (...) hoax the sophisticated French? Although Eliot raises the issue of their relative ignorance of English, he prudently does not make much of it: after all, we know that Baudelaire spent seventeen years on the tales, Mallarmé still longer on the poems—thirty years for the definitive text; while Valéry, to whom Baudelaire and Mallarmé left little to translate, managed a version of the Marginalia. Each might have said, as Mallarmé did in 1885, that he had learned English for one sole reason: “to read Poe better.”3 In the matter of linguistic competence, then, Eliot is content to remark that the French poets “were not disturbed by weaknesses of which we are very much aware” . He underlines, however, that Poe showed different facets of himself to each of his readers who adopted him in various ways: Baudelaire focused on the Poète maudit, Mallarmé on the prosodist, and Valéry on the theoretician in whom he discovered “a method and an occupation—that of observing himself write” . So Poe had a diverse effect, which Eliot accepts more readily in respect of Baudelaire and Mallarmé than he does of Valéry. To explain this last case which intrigues him especially, he introduces a paradox: “with Poe and Valéry, extremes meet,” he writes, “the immature mind playing with ideas because it had not developed to the point of convictions, and the very adult mind playing with ideas because it was too skeptical to hold convictions” .Thus Eliot damns Poe with faint praise. The distance between cause and effect, master and disciples is so vast that it can only be thought the product of monstrous error. And yet “from Poet to Valéry” and the complementary studies in English or French of the past thirty-five years neglect some deeper factors that drew the Symbolists. Misreadings there were no doubt since such are in the nature of things, but these authors were sensitive to currents that others overlooked. They attempted to go to first principles, not only because Poe was “ce poète incomparable, ce philosophe non refute” 4 and, therefore, worthy of scrutiny, but because they held him to be vital to their future thought. In a period of great social and aesthetic change they found a figure of radical independence—classicist, visionary, logician supreme—whom they explained by convergent tropes of daemonic power. In this regard the newly published correspondence of Mallarmé and the massive Valéry notebooks have added to our knowledge. I would like, then, to consider the nature of Poe’s action, this submerged dialogue in time and successive rewriting by which—“à l’égal de nos maître les plus chers ou vénérés,” as Mallarmé put it5—he entered the mainstream of French poetry. 2. The lecture was later published in Hudson Review 2 : 335; all further references to this work, abbreviated “FPV,” will be included in the text.3. Mallarmé, “Autobiographie,” Oeuvres completes, p. 662.4. Baudelaire, “Le Poème du hachisch,” Oeuvres complètes, 1:427.5. Mallarmé, “Scolies,” Oeuvres completes, p. 223. James Lawler, Edward arson Waller Distinguished Service Professor of French at the University of Chicago, has written extensively on nineteenth- and twentieth-century French poetry. Among his books are Lecture de Valéry, The Language of French Symbolism, The Poet as Analyst, and René Char: The Myth and the Poem. He is currently completing a study of Buadelaire’s Les Fleurs du mal. (shrink)

En el último capítulo del libro Sobre la Revolución, marcado por un tono casi nostálgico en la escritura, Hannah Arendt se pregunta por lo que quedó de aquella experiencia que caracterizó a las revoluciones libertarias. Aquella experiencia donde tuvo lugar y voz un espíritu público marcado por el poder de los iguales y distintos que inician una nueva acción. Es nuestro objetivo reconstruir la idea de una historia de las revoluciones de Arendt, que entendida como historia de la experiencia del (...) poder efímero y esquivo, ocurre y se desvanece. Un desvanecimiento que sin embargo, deja una huella que se guarda de una manera paradójica: Aunque no está disponible en el repertorio de la gran tradición, que ya no ejerce su fuerza dominadora, este espíritu revolucionario reaparece en la historia, permitiendo que nuevas generaciones la activen como historia. Esto es lo que a nuestro juicio se expresa las imágenes de �la herencia sin testamento� y el �tesoro perdido� que Arendt toma de René Char y usa para hablar del legado de las revoluciones, tanto en el libro Sobre la Revolución, como en la introducción de Entre pasado y Futuro.¿ Cómo se recuerda una experiencia revolucionaria? ¿Cómo se hace historia de la revoluciones si su experiencia específica constituye una herencia evanescente, que no permanece? ¿Cómo se puede heredar y así construir una historia sin la fuerza dominadora de la Tradición? Son las preguntas que orientarán nuestro trabajo. (shrink)

O estatuto do realismo em Foucault, apesar de elaborado insistentemente, permanece elíptico – em parte graças à sua associação a proposições que poderíamos denominar ficcionalistas. Através dos textos onde Foucault aborda os nexos de pertencimento entre ficção, universalidade e facticidade, o artigo propõe uma leitura não-realista de suas pesquisas, caracterizada pela recusa não do real enquanto objeto, mas de sua evidência ontológica. Inicialmente, trata da apresentação das insuficiências das interpretações que exigem uma ontologia – como a de Paul Veyne –, (...) bem como das que a substituem pela excepcionalidade da criação – como a de Michel de Certeau. Em seguida, detalha a questão da literatura como paradigma metodológico, especialmente nas referências de Foucault à obra de René Char. Enfim, mostra em que sentido a enunciação do discurso da arqueogenealogia está mais próximo do (não-)realismo de Fichte – no seu improvável encontro com Blanchot – do que da dialética hegeliana. (shrink)

Die weit verstreuten kHardback Veroffentlichungen, Denkerfahrungen Martin Heideggers aus 66 Jahren, erscheinen hier zusammengefasst unter dem noch von Martin Heidegger festgelegten Titel Aus der Erfahrung des Denkens in zweiter Auflage. Erstes (1910) und letztes (1976) Zeugnis seiner bisher veroffentlichten Gedanken sind in diesem Band vereinigt. Viele Beitrage bewegen sich im Umkreis von Dichtung, Kunst und Musik. Die Vielfalt der Denkerfahrungen zeigt deutlich, dass Martin Heideggers denkerisches Bemuhen weit uber die allgemeine Philosophie hinausgegangen ist. Bislang nur den Subskribenten der Gesamtausgabe vorbehalten, (...) ist dieser Band nun auch einzeln zu beziehen. Inhalt: Abraham a Sancta Clara (1910) - Fruhe Gedichte (1910-1916) - Schopferische Landschaft: Warum bleiben wir in der Provinz? (1933) - Wege zur Aussprache (1937) - Winke (1941) - Chorlied aus der Antigone des Sophokles (1943) - Zur Erorterung der Gelassenheit. Aus einem Feldweggesprach uber das Denken (1944/45) - Aus der Erfahrung des Denkens (1947) - Der Feldweg (1949) - Holzwege (Dem kunftigen Menschen.) (1949) - Zu einem Vers von Morike. Ein Briefwechsel mit Martin Heidegger von Emil Staiger (1951) - Was heisst Lesen? (1954) - Vom Geheimnis des Glockenturms (1954) - Uber das Langenhardener Hebelbuch (1954) - Uber die Sixtina (1955) - Die Sprache Johann Peters Hebels (1955) - Begegnungen mit Ortega y Gasset (1955) - Was ist die Zeit? (1956) - Hebel - der Hausfreund (1957) - Aufzeichungen aus der Werkstatt (1959) - Sprache und Heimat (1960) - Uber Igor Strawinsky (1962) - Fur Rene Char (1963) - Adalbert Stifters Eisgeschichte (1964) - Wink in das Gewesen (1966) - Die Kunst und der Raum (1969) -Zeichen (1969) - Das Wohnen des Menschen (1970) - Gedachtes (1970) - Rimbaud vivant (1972) - Sprache (1972) - Der Fehl heiliger Namen (1974) - Fridolin Wiplingers letzter Besuch (1974) - Erhart Kastner zum Gedachtnis (1975) - Grusswort von Martin Heidegger (1976). (shrink)

La rencontre de Ricœur avec Greimas n’a pas été un événement éphémère, mais une discussion qui s’est étalée sur plus de trente ans. Anne Hénault retrace ici les différentes étapes de ce que Ricœur appelait son “combat amoureux” avec Greimas, et qui illustre à merveille le poème de René Char: “Les loyaux adversaires.” On y retrouve les qualités propres du philosophe dans ses dialogues, le souci de faire avancer son propre raisonnement de façon rigoureuse, mais aussi l’effort pour donner (...) à l’interlocuteur “la chance de son meilleur argument.” Anne Hénault raconte la traversée d’un structuralisme “ennemi” et la conquête d’une “amitié” réciproque exigeante, et fondée sur de véritables convergences intellectuelles. (shrink)

This book is probably the best comprehensive treatment of Heidegger’s philosophy of art currently available in English. A little over a third of the volume deals with the most widely read and discussed of Heidegger’s texts concerning art, the 1936 essay, “The Origin of the Work of Art.” The remaining hundred pages or so then go beyond that familiar territory into many other sources, including Heidegger’s lectures on Hölderlin and Nietzsche, his later essays on poetry and language, and his occasional (...) remarks concerning actual paintings and musical and architectural works. Readers who don’t already know will be interested to learn that Heidegger’s comments on contemporary works of art frequently belie his own usual sweeping dismissal of modern art as so much smoothly manipulated technological product. Though he remained preoccupied with what Hölderlin called “the flight of the gods” in modernity and the spiritual “darkening of the world” in the age of technology, Heidegger also expressed admiration for the paintings of Van Gogh, Braque, Klee, and Cézanne, the music of Stravinsky and Carl Orff, the poetry of Rilke, Trakl, Paul Celan, René Char, and Stefan George, and the architecture of Le Corbusier. (shrink)

Principles of Philosophy was written in Latin by Rene Descartes. Published in 1644, it was intended to replace Aristotle's philosophy and traditional Scholastic Philosophy. This volume contains a letter of the author to the French translator of the Principles of Philosophy serving for a Preface and a letter to the most serene princess, Elizabeth, eldest daughter of Frederick, King of Bohemia, Count Palatine, and Elector of the Sacred Roman Empire. Principes de philosophie, by Claude Picot, under the supervision of (...) Descartes, appeared in 1647 with a letter-preface to Queen Christina of Sweden. (shrink)

On n’imagine pas de justice sans possibilité de faire miséricorde ; inversement, une miséricorde qui ne tiendrait pas compte de la justice ne serait plus la miséricorde. Les deux notions sont liées, mais sur un socle inégal : car la justice inspirée par la loi naturelle déborde la justice positive, de même que la misère des miséreux ne se laisse pas ramener au mal commis par le misérable. En découlent des variations où l’on peut voir se profiler trois moments : (...) 1. La loi coutumière est bousculée par le Dieu de justice qui en questionne la légitimité ; 2. La répartition des tâches en chrétienté délègue l’exercice de la justice au pouvoir civil, l’Église se réservant la charité ; 3. L’époque contemporaine fait prévaloir l’idée de seconde chance à la base de toute justice, la responsabilité collective contrebalançant alors la culpabilité individuelle. (shrink)

"Descartes is rightly considered the father of modern philosophy" - Schopenhauer "The effect of this man on his age and the new age cannot be imagined broadly enough... René Descartes is indeed the true beginner of modern philosophy, insofar as it makes thinking the principle. "- Hegel "Descartes was the first to bring to light the idea of a transcendental science, which is to contain a system of knowledge of the conditions of possibility of all knowledge." - Kant A new (...) 2023 translation directly from the original manuscripts into English of Descartes' famous work "Rules for the Direction of the Mind" (Règles pour la direction de l'esprit). This edition contains a new introduction and afterword from the translator, as well as a timeline of Descartes' life and summaries of each of his works. Here, Descartes lays out a method for approaching problems and seeking knowledge. The importance of this work lies in the fact that it established the scientific method as a way of investigating the world, and had a significant influence on the development of modern science. This work is one of the foundational texts of Western Philosophy. (shrink)

Tout ce qui est dans l'oeuvre de Jacques, nous l'avons d'abord vécu à l'état de difficulté vitale et d'expérience, - les questions de l'art et de la morale, de la philosophie, de la foi, de la prière, de la contemplation. Cela nous a d'abord été donné à vivre, à chacun selon sa nature et la grâce de Dieu », notait Raïssa en 1934. Cette correspondance confirme le propos, qui nous fait pénétrer dans « l'amour fou » de deux vies données (...) l'une à l'autre, et la trame quotidienne de leur fécondité de pensée et de « grandes amitiés ».Leur conversion en 1906 scelle la vocation d'un couple venu déjà un peu d'ailleurs : lui, 18 ans, romantique, révolutionnaire et dreyfusard en diable, en rupture avec les élites républicaines laïques dont il est issu ; elle, 17 ans, comme sortie d'une peinture de Chagall, juive et slave en quête à la Sorbonne d'une nouvelle patrie spirituelle. Les premiers regards portés sur eux discernent déjà leur promesse : « Je les trouve absolument dignes l'un de l'autre ; ce sont même de si beaux types d'humanité qu'il faut se féliciter de les voir se rechercher. On ne trouve pas si souvent de couple bien assorti ; celui-là me paraît devoir donner un exemple lumineux. »Ils s'écrivent abondamment dès que les aléas de la vie les séparent et ce premier tome les suit dans la découverte d'eux-mêmes. Dans la discontinuité des circonstances, leur chemin métaphysique et mystique progresse, tandis que se révèle, derrière chaque ouvrage, chaque combat, chaque accompagnement spirituel, le secret de leur rayonnement : au fil de ces 712 lettres, c'est d'abord une histoire d'amour, dans un respect tendre et sacré de la singularité de l'autre. (shrink)

Recently, an increasing number of scholars have been showing interest in old-fashioned racism again. While recent studies on old-fashioned racism apparently increase our knowledge of this psychological theory of racism, the studies actually shed light on a different type of racism, namely offensive racism. The aim of this text is to argue that psychological theories of racism, like old-fashioned racism and modern racism, depend on societies’ social norms. I will show that questionnaires are highly sensitive to social norms, and if (...) there is change in social norms, the original measurement object alters. The theory of old-fashioned racism implicitly assumes agents that follow (or conform to) the social norm to behave prejudiced. Today, however, this social norm does not exist in Western societies. If agents express the same prejudices today, they indicate their willingness to breach the social norm to behave unprejudiced. Thereby, classic old-fashioned racism measures reflect a new kind of racism today. (shrink)

While National Human Rights Institutions are widely regarded as particularly promising tools in the emerging transnational regime for the regulation of business and human rights, we still know little about their potential and actual contribution to this field. This article bridges the gap between business and human rights research and NHRI scholarship, proceeding in three steps: Firstly, I analyze the structural conditions for NHRIs to tackle business-related human rights abuses effectively, focusing on the key conditions of legitimacy and competences. Secondly, (...) I examine the envisaged role and functions of NHRIs in business and human rights regulation according to the Paris Principles and the UN Guiding Principles. Thirdly, I reconstruct and critically assess NHRIs’ mandates and powers to address corporate human rights abuse, based on the analysis of surveys and reports. I argue that there is a significant mismatch between the essential structural conditions for effective NHRI engagement with business and human rights, the expected contribution of NHRIs to the prevention and remedy of corporate human rights abuses, and the limitations of their mandates and powers in practice. To overcome that misalignment and unlock NHRIs’ full potential, this article proposes a reform of the Paris Principles which would provide these institutions with a robust source of international legitimacy and increase the pressure on state governments to extend their powers. (shrink)

Can we hold agents responsible for their implicitly biased behavior? The aim of this text is to show that, from the nurturing stance, holding subjects responsible for their implicitly biased behavior is justified, even though they are not blameworthy. First, I will introduce the nurturing stance as Daphne Brandenburg originally developed it. Second, I will specify what holding somebody responsible from the nurturing stance amounts to. Third, I show how and why holding responsible can help a subject develop an impaired (...) capacity. Fourth, I analyze empirical data about holding prejudiced subjects responsible and highlight that the internal motivation to control prejudiced reactions decreases implicit attitudes’ influences. Furthermore, the data show that in order to be appropriate moral demands have to acknowledge the target's autonomy and competence. In sum, from the nurturing stance, holding implicitly biased subjects responsible is appropriate if they can adequately respond to the moral demands. (shrink)

Essays over de actualiteit van het denken van de Deense filosoof en theoloog Kierkegaard (1813-1855) ten aanzien van bijvoorbeeld de enkeling, ethiek, het offer en zijn eigen schrijverschap.

In social psychology, the concept of implicit attitudes has given rise to ongoing discussions that are rather philosophical. The aim of this paper is to discuss the status of implicit prejudices from a philosophical point of view. Since implicit prejudices are a special case of implicit attitudes, the discussion will be framed by a short discussion of the most central aspects concerning implicit attitudes and indirect measures. In particular, the ontological conclusions that are implied by different conceptions of implicit attitudes (...) will be scrutinized. The main question to be discussed involves whether implicit prejudices are mental states at all, or whether they are rather dispositions to behave in a certain way. This question will be discussed against the background of principles for belief ascription, which requires ascribed mental states to fulfill some specific explanatory role. We defend a conception of implicit prejudices that... (shrink)