Picking up where the work of F. L. Lapointe left off, this new bibliography has more than 6,000 reference points providing thorough coverage of Jean-Paul Sartre from 1980 to 1992. More than 3,400 main entries are clearly presented in chronological order. Also included are 200 doctoral theses, a name index with more than 2,400 authors, and a book index.

The writings published here are not so much an epitome as episodes. But most do not digress. They mark the turns and turning points of a human style, the tropes of an expressive life embodying the changing tempos of an age. Until we fall silent, all of us are trying to say. These fragmentary efforts to speak to, rejoin, and help create a new community of liberated human beings constitute the epigraphs of Sartre's historical inscription.

Comment s'écrit un grand texte, un classique de l'autobiographie? Des spécialistes de la critique génétique ont étudié les avant-textes, brouillons et manuscrits successifs qui au bout de dix ans (1953-1963) ont donné le livre. Sartre voulait élucider les déterminations qui ont fait de lui un écrivain. Ces analyses montrent la construction progressive d'une image de soi avec la prédominance d'une problématique narcissique déniée par l'auteur. La notion d'«universel singulier» fondatrice de l'oeuvre est particulièrement étudiée.

... PREFACE Paul Gochet (Liege) "[...] une entite physique ne peut etre envisagee que comme une sorte de concretisation, de consolidation locale dans un ...

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

Schopenhauer’s invective is legendary among philosophers, and is unmatched in the historical canon. But these complaints are themselves worthy of careful consideration: they are rooted in Schopenhauer’s philosophy of language, which itself reflects the structure of his metaphysics. This short chapter argues that Schopenhauer’s vitriol rewards philosophical attention; not because it expresses his critical take on Fichte, Hegel, Herbart, Schelling, and Schleiermacher, but because it neatly illustrates his philosophy of language. Schopenhauer’s epithets are not merely spiteful slurs; instead, they reflect (...) deep-seated theoretical and methodological commitments to transparency of exposition. (shrink)

Michel Weber, Éléments de routine ayurvédique. Autonomie, rituel et ascèse, Les Éditions Chromatika, 2021. (978-2-930517-82-7 ; pdf 978-2-930517-83-4 ; 104 pp., 14€) -/- L’Ayurvéda propose une philosophie de vie qui articule un vaste système métaphysique (une cosmologie théorique) avec une visée thérapeutique profonde (une anthropologie pratique). -/- À la croisée de la théorie et de la pratique, on trouve la routine (« dinacharya ») dont le but est de susciter l’individuation et la solidarité, c’est-à-dire l’autonomie (de chacun) respectueuse de (...) la communauté (de tous). Ce faisant, elle constitue une ascèse dont l’efficacité a été longuement éprouvée et rarement égalée. (shrink)

‘Philosophical dialogue’ indicates both a form of philosophical inquiry and its corresponding literary genre. In its written form, it typically features two or more characters who engage in a discussion concerning morals, knowledge, as well as a variety of topics that can be widely labelled as ‘philosophical’. Our philosophical dialogue takes place in Krakow, Poland. It is a rainy morning and two strangers are waiting at a tram stop. One of them is dressed neatly, and cannot stop fidgeting with his (...) closed umbrella. The other was caught unprepared by the morning downpour and water is dripping from his worn, soaked jacket. (shrink)

Etye Steinberg has recently raised a problem for Joseph Heath’s Market Failures Approach. In this paper we consider a response by Heath. We argue that Heath’s response not only leaves the original problem intact, but also raises a second one, analogous to stakeholder theory’s so-called “identification problem.”.

Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of creation. (...) I introduce palaeoart—the depiction of extinct prehistoric fauna and flora, especially from the Mesozoic—as a paradigmatic case of remote art, showing that its remoteness is secured both by the deceptively rich cognitive load required for its creation and appreciation, and by its existence at the margins of the institutional artworld, which ensures that this cognitive loading is largely obscured. Too often, remote art is not just inscrutable, it is invisible to us. (shrink)

We answer three questions: 1. Can we give a wholly mathematical explanation of a physical phenomenon? 2. Can we give a wholly mathematical explanation for a whole physical theory? 3. What is gained or lost in giving a wholly, or partially, mathematical explanation of a phenomenon or a scientific theory? To answer these questions we look at a project developed by Hajnal Andréka, Judit Madarász, István Németi and Gergely Székely. They, together with collaborators, present special relativity theory in a three-sorted (...) first-order formal language. (shrink)

Comment Bachelard, fils d'un cordonnier, professeur de physique et chimie, a-t-il pu devenir cet humaniste aussi savant que philosophe, aussi penseur que poète? Il n'a pas emprunté les chemins balisés, ceux des élites universitaires et culturelles. Il a contrarié les pronostics et les conventions. Il s'est adjugé contre vents et marées le droit de penser par lui-même en bousculant les frontières des savoirs et de la culture et en dérangeant les us et coutumes établis. "Un ouvrage aussi lumineux que la (...) destinée et l'oeuvre de Gaston Bachelard. Au plus près de sa vie et de sa pensée". (Philippe Meirieu). (shrink)

Il y a des questions concernant le droit auxquelles il n'est pas possible de répondre par la simple analyse du droit en vigueur et que pourtant ni les juristes, ni les philosophes ne peuvent éviter. Ce sont celles qui font l'objet de la philosophie du droit. Elles concernent notamment la définition du droit et d'abord celle du droit en vigueur lui-même, des rapports que le droit entretien avec d'autres phénomènes, comme le pouvoir, la force ou la morale, la possibilité d'une (...) science du droit, la structure du système juridique ou encore la spécificité du raisonnement juridique et des concepts employés par les juristes. (shrink)

Emmanuel Levinas’s work on the ethical responsibility of the face-to-face relation offers an illuminating context or clearing within which we might better appreciate the work of Simone Weil. Levinas’s subjectivity of the hostage, the one who is responsible for the other before being responsible for the self, provides us with a way of re-encountering the categories of gravity and grace invoked in Weil’s original account. In this paper I explore the terrain between these thinkers by raising the question of eating (...) as, in part, an ethical act. Weil’s conception of grace refers to the state of decreation in which the utter humility of the self moves toward a kind of disintegration and weightlessness. This weightlessness, which Weil contrasts to the gravity of terrestrial weight, might be thought of in terms of the subject’s fundamental responsibility for the other, especially in terms of the injunction “Thou shalt neither kill nor take the food of thy neighbour.” Taking the place of the other, taking the food from the mouth of the other, is the ethical dilemma facing the subject as hostage and an elaboration of this situation may provide us with steps toward a radical questioning of anorexia as—at least inpart—an ethical rather than purely medical condition. (shrink)

This volume is a wonderful introduction to Foucault and a testimony to the deep humanity of the man himself.

Il n’est pas courant que Clio se livre au compte rendu d’un numéro de revue, mais celui consacré aux récits de femme en Méditerranée par l’écriture, l’expression corporelle et les arts visuels faisait écho à plusieurs numéros de notre revue dont le dernier consacré à « Écrire au féminin » (2012/35). Rives méditerranéennes publie ici une partie des résultats d’un programme de recherche pluridisciplinaire et dans la longue durée de l’espace méditerranéen qui entendait « questionner les processu...

In an age of internet scrolling and skimming, where concentration and attention are fast becoming endangered skills, it is timely to think about the act of reading and the many forms that it can take. Slow Philosophy: Reading Against the Institution makes the case for thinking about reading in philosophical terms. Boulous Walker argues that philosophy involves the patient work of thought; in this it resembles the work of art, which invites and implores us to take our time and to (...) engage with the world. At its best, philosophy teaches us to read slowly; in fact, philosophy is the art of reading slowly – and this inevitably clashes with many of our current institutional practices and demands. Slow reading shares something in common with contemporary social movements, such as that devoted to slow food; it offers us ways to engage the complexity of the world. With the help of writers as diverse as Nietzsche, Wittgenstein, Woolf, Adorno, Levinas, Critchley, Beauvoir, Le Dœuff, Irigaray, Cixous, Weil, and others, Boulous Walker offers a foundational text in the emerging field of slow philosophy, one that explores the importance of unhurried time in establishing our institutional encounters with complex and demanding works. (shrink)

Language and the birth of "literature." A preface to transgression. Language to infinity. The father's "no." Fantasia of the library.--Counter-memory: the philosophy of difference. What is an author? Nietzsche, genealogy, history. Theatrum philosophicum.--Practice: knowledge and power. History of systems of thought. Intellectuals and power. Revolutionary action: "until now.".

This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: there can be no accidental art, only deliberate and incidental art; art’s intention-dependence entails the possibility of performative failure, but not of (...) failed-art; and art’s intention-dependence is perfectly compatible with the role that luck plays in artistic creation. (shrink)

'A fabulous journey through thirty years of political and intellectual ferment... will reorient our reading of Foucault's major works' Didier Eribon The Essential Works of Michel Foucault offers the definitive collection of his articles, interviews and seminars from across thirty years of his extraordinary career. This first volume, Ethics, contains the summaries of Foucault's renowned courses at the Collège de France, as well as key writings and candid interviews on ethical matters: from the role of the intellectual and philosopher (...) in society to friendship, sexuality and the care of the self and others. Edited by Paul Rabinow Translated by Robert Hurley and Others. (shrink)

The recently published BRAIN 2.0 Neuroethics Report offers a very helpful overview of the possible ethical, social, philosophical, and legal issues raised by neuroscience in the context of BRAIN’s research priorities thus contributing to the attempt to develop ethically sound neuroscience. In this article, we turn to a running theme of the document: the need for an ethical framework for the BRAIN Initiative and for further integration of neuroethics and neuroscience. We assess some of the issues raised and provide an (...) explanation of how we have addressed them in the Human Brain Project. We offer our experience in the HBP as a potential contribution to the international debate about neuroethics in the big brain initiatives. Our hope is that among other things, the type of exchange proposed by this AJOB special issue will prove productive in further identifying and discussing the issues and in inspiring appropriate solutions. (shrink)

The surface grammar of reports such as ‘I have a pain in my leg’ suggests that pains are objects which are spatially located in parts of the body. We show that the parallel construction is not available in Mandarin. Further, four philosophically important grammatical features of such reports cannot be reproduced. This suggests that arguments and puzzles surrounding such reports may be tracking artefacts of English, rather than philosophically significant features of the world.