From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands 'possible world theory' to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty's phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and (...) accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin's exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by Áine O'Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds' radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies ; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call. (shrink)

This text practices a philosophical voice that deviates from visuo-centric theory and the muteness of its language and instead sings a complex simultaneity of things and thoughts that burn through the walls of the discipline and illuminate the activities at the margins. This philosophical voice sings a refrain of “I,” which brings us back to bring us forward, surprising us in its renewal again and again. It is a body that is, as Samuel Beckett’s Not I, at once not I (...) and I; an idiosyncratic subjectivity that carries its plural name in its mouth. In this way, it further diffracts the sonic possibility of counterfactual slices into simultaneous dimensionalities open to our gaze in the dark, when we have let go of a normative orientation and are able to see the image at its depth. Between text scores, Churten theory, Canto Cardenche, and the breath of a humpback whale, this voice tries not to theorise. It does not want to produce a philosophical message, supporting a “philosophism” which akin to “scientism” treats philosophy as a phenomenon unconnected to cultural values or location, gender or racial specificity. Instead, it aims to practice a philosophy that opens in song to its own anxiety of objectivity, its fear of a reflective centre, and performs a translucent marginality that generates the view of a plural world burning through a permeable skin. (shrink)

With reference to Steven Feld’s “acoustemology,” his epistemology of sounding and listening, developed in the Bosavi Rainforest in Papua New Guinea, where the trees are too dense to afford a distant view and meaning has to be found up close, on the body with other human and more-than-human bodies, this essay deliberates how sound knows in entanglements and from the in-between: in a being with as a knowing with rather than from a distance. In this way, this essay, from the (...) densities of the rainforest, critiques Western knowledge and its reliance on visual categories, straight lines, and universalising principles that pretend objectivity and a distant view. Instead, it turns to the relational indivisibility of sound that lets us hear interdependencies and confronts us with the invisible of which we are part. In conclusion, it proposes that sound studies as applied, transversal studies enable such a paradigm shift that at once reveals what hegemonic knowledge strands exclude and invites a different dialogue from the in-between of everything. (shrink)

Light song (a text score) -- Introduction : writing fragments -- The political possibility of sound -- Hearing volumes : architecture, light and words -- Geographies of sound : performing impossible territories -- Morality of the invisible, ethics of the inaudible -- Hearing subjectivities : bodies, forms and formlessness -- Sonic materialism : a philosophy of digging -- Reading fragments of listening, hearing vertical lines of words -- Putting on lipstick (a text score).

A discussion of the topics of curation, geography, and material production in the context of sound studies and the sonic world.

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

A journey through sound, memory, and landscapes, questioning the origins, perception, and cultural implications of music. A lifelong relation to sound and music underlies Latifa Echakhch’s work. On the occasion of her representation of the Swiss Pavilion for the 59th Venice Biennale, she has edited a volume on sound, memory, and perception. In the book, images of her installation in the Swiss Pavilion, The Concert, accompany her own writings along with this by Alexandre Babel and Francesco Stocchi, the co-curators of (...) the pavilion. The volume also includes interviews with and collected texts by François J. Bonnet, Emanuele Quinz, Maxime Guitton, Alvin Curran, Salomé Voegelin, Antoine Chessex, Jonathan Sterne, Juliette Volcler, and Raphaël Brunner. Confronting knowledge, reflection, and intuition, their combined concert of thoughts confirms how sound and music—and their absence—play a crucial role in our physical and cultural perception of the world, and how they allow us to expand our bodily and cognitive experience. This book is one of the three parts of the Swiss Pavilion; the other two are the installation and a vinyl edition of the piece composed by Alexandre Babel. (shrink)

Publie a Vienne en 1933 par Eric Voegelin (1901-1985), alors jeune privat-dozent en politique et sociologie, Race et Etat, fut assez rapidement retire de la vente par son editeur. En effet, mettant a profit les connaissances en genetique de l'auteur, la premiere partie propose une analyse critique minutieuse des theories pretendument scientifiques de la race, alors en vigueur. Utilisant les theses de Scheler, d'Aristote, de Descartes, ainsi que l'anthropologie du jeune Fichte, Eric Voegelin les replace dans le cadre (...) d'une anthropologie philosophique des relations entre le corps, l'esprit et l'ame. De meme que l'Etat tribal ou le royaume du Christ, l'idee moderne de race fait partie de la realite politique et propose une image symbolique de la communaute, dont l'idee de millenarisme est une composante-cle. Eric Voegelin analyse donc dans la seconde partie le mythe de la race nordique tel qu'il a ete elabore a partir du milieu du XIXe siecle par G. Klemm, A. de Gobineau et A. Rosenberg en forgeant sa contre-image: celle de l' anti-race juive. L'echo tout particulier qu'a trouve cette idee en Allemagne, s'expliquerait en definitive par un sentiment d'inferiorite des Allemands a l'egard des juifs, representants de la race elue. (shrink)

"Thirty-five years ago few could have predicted that The New Science of Politics would be a best-seller by political theory standards. Compressed within the Draconian economy of the six Walgreen lectures is a complete theory of man, society, and history, presented at the most profound and intellectual level. . . . Voegelin's [work] stands out in bold relief from much of what has passed under the name of political science in recent decades. . . . The New Science is (...) aptly titled, for Voegelin makes clear at the outset that a 'return to the specific content' of premodern political theory is out of the question. . . . The subtitle of the book, An Introduction, clearly indicates that The New Science of Politics is an invitation to join the search for the recovery of our full humanity."--From the new Foreword by Dante Germino "This book must be considered one of the most enlightening essays on the character of European politics that has appeared in half a century. . . . This is a book powerful and vivid enough to make agreement or disagreement with even its main thesis relatively unimportant."-- Times Literary Supplement "Voegelin . . . is one of the most distinguished interpreters to Americans of the non-liberal streams of European thought. . . . He brings a remarkable breadth of knowledge, and a historical imagination that ranges frequently into brilliant insights and generalizations."--Francis G. Wilson, American Political Science Review "This book is beautifully constructed . . . his erudition constantly brings a startling illumination."--Martin Wright, International Affairs "A ledestar to thinking men who seek a restoration of political science on the classic and Christian basis . . . a significant accomplishment in the retheorization of our age."--Anthony Harrigan, Christian Century. (shrink)

Eric Voegelin (1901-1985) was one of the most original philosophers of our time, working throughout his life to account for the endemic political violence of the twentieth century, in an effort variously referred to as a philosophy of politics, history, or consciousness. Drawing from the University of Missouri Press's thirty-four-volume edition of his collected works, Charles Embry and Glenn Hughes have assembled a selection of Voegelin's representative writings, satisfying the need for a single volume that can serve as (...) a general introduction to his philosophy. The selection demonstrates the range and creativity of Voegelin's thought, including writings that show his thinking as it developed historically in his long search for order in human society. (shrink)

For every$n\in \omega \setminus \{0,1\}$we introduce the following weak choice principle:$\operatorname {nC}_{<\aleph _0}^-:$For every infinite family$\mathcal {F}$of finite sets of size at least n there is an infinite subfamily$\mathcal {G}\subseteq \mathcal {F}$with a selection function$f:\mathcal {G}\to \left [\bigcup \mathcal {G}\right ]^n$such that$f(F)\in [F]^n$for all$F\in \mathcal {G}$.Moreover, we consider the following choice principle:$\operatorname {KWF}^-:$For every infinite family$\mathcal {F}$of finite sets of size at least$2$there is an infinite subfamily$\mathcal {G}\subseteq \mathcal {F}$with a Kinna–Wagner selection function. That is, there is a function$g\colon \mathcal (...) {G}\to \mathcal {P}\left (\bigcup \mathcal {G}\right )$with$\emptyset \not =f(F)\subsetneq F$for every$F\in \mathcal {G}$.We will discuss the relations between these two choice principles and their relations to other well-known weak choice principles. Moreover, we will discuss what happens when we replace$\mathcal {F}$by a linearly ordered or a well-ordered family. (shrink)

Remembrance of Things Past In 1943 I had arrived at a dead-end in my attempts to find a theory of man, society, and history that would permit an adequate ...

Este texto já apareceu em 2018 na Revista Dobra N° 2. Resumo : Manuel António Pina chamava-lhe isto porque não sabia o nome d'isto. Já eu venho escolhendo a precária, transitória e possivelmente redundante designação de “ritmo vital”. Escolher este nome não resulta de uma tentativa de definição, é antes uma decisão operatória que permite avançar e descolar a atenção do isto, para o gesto de contacto com esse isto – ritmo vital –, e a sua relação com a experiência (...) estética e com a criação artística. Neste - Esthétique – Nouvel article. (shrink)

Les époques d'instabilité et de désordre politique coïncident généralement avec un développement de la science politique. En atteste une fois de plus la Correspondance qu'entretinrent ces " deux géants de la science politique ", Leo Strauss et Eric Voegelin, tous deux contraints par la révolution national-socialiste à s'exiler aux Etats-Unis. Dans la cinquantaine de lettres échangées, dont le cœur se constitue au cours des années 1942-1953, le lecteur assiste à la gestation des deux grands théoriciens politiques de ce début (...) de siècle. L'échange de vues concernant la restauration du niveau de questionnement platonicoaristotélicien, leur lecture divergente des dialogues de Platon, la critique virulente qu'adresse Voegelin à l'egologie husserlienne ainsi qu'à sa réduction de l'Humanité incarnée par l'homme occidental ou encore à son interprétation de l'histoire à travers le telos qui se révèle en elle, la divergence d'appréciation concernant la tyrannie moderne, enfin leurs critiques réciproques de l'existentialisme retiendront particulièrement l'attention. Mais le désaccord irréductible entre les deux penseurs porte bien évidemment sur le rôle de la foi et de la philosophie politique, ainsi qu'en témoigne le sous-titre de cette Correspondance, désaccord dont le lecteur trouvera témoignage dans les quatre essais, datant de la période de la maturité des deux auteurs, dont trois inédits, qui composent la seconde partie de ce volume. La troisième partie rassemble huit essais d'éminents spécialistes de l'un ou l'autre penseur, commentant les problèmes soulevés dans la Correspondance et, plus généralement dans l'œuvre des deux auteurs. (shrink)

Este texto já apareceu no site da ESC:ALA. “Como começar pelo início, se as coisas acontecem antes de acontecer?”, pergunta Clarice Lispector, em A Hora da Estrela. Qualquer começo se faz pelo meio. Meio como metade de uma totalidade, meio como ponto equidistante do princípio e do fim. Meio como ponto central. Meio como ambiente. Ter meios, ter possibilidade, ter veículo, ter ponte. O começo nunca é uma totalidade. Qualquer começo se faz a igual distância do início e do fim (...) de um - Philosophie – Nouvel article. (shrink)

Este artículo ya ha aparecido en Revista Heterotopías del Área de Estudios Críticos del Discurso de FFyH, Volumen 4, N° 8, Córdoba, diciembre de 2021 – ISSN: 2618-2726. Resumen : Son tenues las huellas de Lúcio Pinheiro dos Santos, matemático y filósofo portugués, que fue conocido como el filósofo fantasma, principalmente a causa de su trabajo haberse, literalmente, esfumado en una hoguera frente a la Cámara Municipal de Lisboa. No obstante, son contundentes los pocos vestigios que se pueden - Philosophie (...) – Nouvel article. (shrink)

Once again available in paperback, Plato is the first half of Eric Voegelin's Plato and Aristotle, the third volume of his five-volume Order and History, which ...

This English translation of Friedrich Nietzsche in seinen Werken offers a rare, intimate view of the philosopher by Lou Salomé, a free-thinking, Russian-born intellectual to whom Nietzsche proposed marriage at only their second meeting. Published in 1894 as its subject languished in madness, Salomé's book rode the crest of a surge of interest in Nietzsche's iconoclastic philosophy. She discusses his writings and such biographical events as his break with Wagner, attempting to ferret out the man in the midst (...) of his works. Salomé's provocative conclusion -- that Nietzsche's madness was the inevitable result of his philosophical views -- generated considerable controversy. Nietzsche's sister, Elisabeth Förster-Nietzsche, dismissed the book as a work of fantasy. Yet the philosopher's longtime acquaintance Erwin Rohde wrote, "Nothing better or more deeply experienced or perceived has ever been written about Nietzsche." Siegfried Mandel's extensive introduction examines the circumstances that brought Lou Salomé and Nietzsche together and the ideological conflicts that drove them apart. (shrink)

The aim of the article is to establish which the features of egotistic literature are. In order to achieve such a purpose, the article presents a typology of the genre and describes its main types of works: a) autobiography and memorialistic prose; b) journals, personal diaries, cards and cahiers ; c) biography; and d) life stories. Bearing this in mind, the article suggests a theoretical basis for this particular kind of narratives. At the end, the article presents five conclusions: 1) (...) alterity is always present in biographical narratives; 2) biographical narratives are expressions of experiences; 3) biographical narratives provide some unity to plurality; 4) egotistic literature configures itself in an imaginative and fictional form; and 5) biographical narratives configure themselves in a temporal form. (shrink)

Volume 6 of The Collected Works of Eric Voegelin offers the first translation of the full German text of Anamnesis published in 1966.

Friedrich Nietzsche in seinen Werken ist ein unveränderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1894. Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernährung, Medizin und weiteren Genres. Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur. Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitäten erhältlich. Hansebooks verlegt diese Bücher neu und trägt damit zum Erhalt selten gewordener Literatur und historischem Wissen auch für die Zukunft (...) bei. (shrink)

The stage of the formation and establishment of a market economy in Georgia raises the necessity for economic science to solve fundamentally different problems concerning the improvement of the investment environment and investment climate in national economy. After the collapse of the former Soviet Union, the replacement with new relationships has been quite difficult and painful in which foreign investments should play a crucial role. Issues to be discussed include the questions that explore some of the categories and the constraints (...) of the investment climate. All this leads to the relevance of the article and, therefore, determines the purpose of the article. The research process uses general dialectical methods of socio-economic research as well as modern methods of research of economic theory. The scientific aim of the research is to highlight the current issues of the investment environment and investment climate in economy, to study the transformation processes taking place in Georgia during the last two decades, to conduct analysis using proper methods, to show the current social and political as well as other important processes, to generalize them and to form proper opinions. Findings based on research suggest that it is possible to speed up the process of economic development of Georgia. However, the situation will remain difficult in the region and the factors causing the recession _ instability in oil prices and the weakening of the national currency against the US dollar will still be present. In conclusion, the opinion can be formed that a stable and predictable legislative process is important for the investment environment. Therefore, all the parties that may undergo the changes should be informed and involved in every project planned by the government; At present, it becomes necessary to further extend the deregulation policy, which should include the development of financial and investment sectors and support of the establishment of appropriate infrastructure, promotion of the further development of microfinance institutions, investment companies and funds, designing the system of investment insurance and stimulation, elimination of unnecessary bureaucracy and artificial barriers, etc. (shrink)

In 1924, not quite two years after receiving his doctorate from the University of Vienna, Eric Voegelin was named a Laura Spelman Rockefeller Memorial Fellow and thus given the opportunity to pursue postdoctoral studies in the United States. For the next twenty-four months, Voegelin worked with some of the most creative scholars in America and at several of the country's great universities, an experience that undoubtedly influenced his scholarly and personal perspectives throughout his life. A more immediate result (...) was the publication in 1928 of _On the Form of the American Mind,_ the young philosopher's first major work, in which his acute perceptions and analyses combine with a conceptual vocabulary struggling to find its own coherence and form. Voegelin begins his inquiry into the form of the American mind with a complex discussion of the concepts of time and existence in European and American philosophy and continues with an extended interpretation of George Santayana, a study of the Puritan mystic Jonathan Edwards, a presentation on Anglo-American jurisprudence, and a consideration of the historian, economist, and political scientist John R. Commons. Although admitting that this diversity of themes seems only loosely connected," Voegelin demonstrates the actual overall unity of these various subjects: each concerns linguistic expressions of a theoretical nature. Analysis of _On the Form of the American Mind_ indicates that Voegelin integrated the approaches of _Lebensphilosophie_ into what Georg Misch called the "philosophical combination of anthropology and history," which characterized contemporary trends within the discourse of the _Geisteswissenschaften_ and finally resulted in a theoretical paradigm of philosophical anthropology. Jürgen Gebhardt and Barry Cooper provide access to this brilliant study with their two-part introduction. The first part considers _On the Form of the American Mind_ in the context of methodological debates ongoing in Germany at the time Voegelin was writing the book; the second describes Voegelin's American experience and compares his work with similar studies written during the post-World War I period. (shrink)

Critique à l’égard des réflexions philosophiques empiristes, Antoine Chrysostome Quatremère de Quincy forgea autour de 1800 une nouvelle théorie de l’art, grâce à une connaissance précoce du criticisme kantien et des esthétiques qui s’en inspirèrent. Il imposa une conception idéaliste de l’art, en opposant un système d’ imitation abstraite du type idéal au traditionnel concept d’ imitation de la nature. En faisant valoir l’existence d’une « puissance d’imaginer » intuitionniste et spontanée, dérivée du concept d’ Einbildungskraft, il proposa un système (...) général des beaux-arts fondé sur une nouvelle métaphysique. Avant Madame de Staël et Victor Cousin, il contribua à diffuser auprès du public français certains débats artistiques outre-Rhin parmi les plus originaux, en soutenant activement les échanges intellectuels entre les deux pays, et notamment les critiques novatrices du mouvement Sturm und Drang dans une perspective spiritualiste. Cet article est une contribution à l’histoire des transferts culturels entre la France et l’Allemagne au début du XIX e siècle, en présentant les grands principes de sa métaphysique de l’art, son interprétation de la mimèsis, mais aussi ses sources pour comprendre les fondements de sa politique des arts à l’aube d’une révolution artistique en Europe. (shrink)

Hitler and the Germans, published here for the first time, offers Voegelin's most extensive and detailed critique of the Hitler era.

Interprétant l’histoire de l’humanité comme la suite discontinue dans le temps des différents degrés d’ouverture de l’âme humaine au mystère du fondement de l’être, Eric Voegelin a cherché à rompre avec toutes les visions unilinéaires de l’histoire qui ont caractérisé la pensée occidentale depuis le XVIIIe siècle et ont constitué une forme désastreuse d’impérialisme spirituel. En 1970, le philosophe a voulu rendre explicites les principes de sa démarche dans un article intitulé « Equivalences of experience and symbolisation in history (...) ». C’est ce texte qui est ici traduit en français pour la première fois.Les équivalences de l’expérience et de la symbolisation dans l’histoire Interpreting the history of mankind as the discontinued temporal succession of the various degrees of openness of the human soul to the mystery of the ground of being, Eric Voegelin has tried to break with all the one-line histories, characteristic of the Western thought since the eighteenth century and forming a disastrous kind of spiritual imperialism. In 1970, the philosopher wanted to clarify the principles of his thought processes in an article entitled « Equivalences of experience and symbolisation in history ». This text is translated here in French for the first time. (shrink)

The thirty-fourth volume of The Collected Works of Eric Voegelin consists of Voegelin's Autobiographical Reflections, reprinted from the 1989 edition with additional annotations; a glossary of terms used in Voegelin's writings, illustrated ...

Summary In the period between the two World Wars, the Portuguese Geological Survey (Serviços Geológicos de Portugal: PGS) was legally dependent on the General Directorate of Mines and Geological Survey (Direcção Geral de Minas e Serviços Geológicos: GDMGS). Portugal was then living through troubled times, and the PGS struggled with financial problems and a lack of technical personnel. This situation did not allow the PGS to work properly as a scientific institution, and achieve its main function: the making and publication (...) of geological maps and research papers. (shrink)