This extract is taken from the article by Professor Michel Vovelle, published in History of European Ideas 2 , 1981, 1–18.

Il y a la mémoire, au féminin, personnelle ou collective, et les mémoires, masculin pluriel, livrés par un personnage, célèbre ou inconnu. Entre les deux quels rapports? Les seconds se nourrissent de la première... mais l'arrangent à leur façon. L'authenticité de la mémoire est altérée par l'oubli, alors que, pour sa part, le mémorialiste peut enjoliver à sa guise. Mémoire vraie contre mémoires faux? Pour en juger, cet essai prélude par un récit personnel dans lequel l'auteur tente de restituer une (...) vérité sur ce qu'a représenté dans sa vie l'empreinte des guerres qu'il a traversées. En contrepoint, il interroge à partir d'un cas exceptionnel les "vrais faux" mémoires de Fouché, la partie adverse. Suit la mémoire bien menacée de la Révolution française, enchaînant sur celle des villes, Aix ou Arles, ou la fortune historique d'un opéra de Mozart, pour finir ou presque sur le rapport de la mémoire à la mort en passant par l'oubli, mais pourquoi pas aussi à l'amour? (shrink)

Michel Vovelle, a historian whose work has received international acclaim, here addresses the crucial question of his original position within the field of social history, in terms of the perspective of a total history within which the random can give meaning to the historical event. As a historian of mentalités, Michel Vovelle goes on to point out how, along with Robert Mandrou, his work has made a contribution to the reformulation of the cultural history and history (...) of representations which currently define the agenda of French historiography. To conclude, he shows how, both in the topics of research which he chose and in his intellectual engagements, his practice as a historian, without in any sense departing from the search for historical objectivity, was animated by his prior heuristic sympathy for a mode of Marxist explanation. (shrink)

Ce sont deux forts et beaux volumes que nous donne l'érudition régionale dans ce qu'elle a de meilleur. Ces Souvenirs offrent un témoignage rare, celui d'une femme, en des temps troublés ; un texte foisonnant, éclairci par des notes multiples ; une avalanche de détails éclairants sur le passé de la cité phocéenne, ses travaux et ses jours ; des analyses politiques par une femme attentive aux événements de sa ville et d'ailleurs. Le deuxième volume apporte de surcroît des pièces (...) complém... (shrink)

Ce sont deux forts et beaux volumes que nous donne l'érudition régionale dans ce qu'elle a de meilleur. Ces Souvenirs offrent un témoignage rare, celui d'une femme, en des temps troublés ; un texte foisonnant, éclairci par des notes multiples ; une avalanche de détails éclairants sur le passé de la cité phocéenne, ses travaux et ses jours ; des analyses politiques par une femme attentive aux événements de sa ville et d'ailleurs. Le deuxième volume apporte de surcroît des pièces (...) complém... (shrink)

Michel Vovelle, a historian whose work has received international acclaim, here addresses the crucial question of his original position within the field of social history, in terms of the perspective of a total history within which the random can give meaning to the historical event. As a historian of mentalités, Michel Vovelle goes on to point out how, along with Robert Mandrou, his work has made a contribution to the reformulation of the cultural history and history (...) of representations which currently define the agenda of French historiography. To conclude, he shows how, both in the topics of research which he chose and in his intellectual engagements, his practice as a historian, without in any sense departing from the search for historical objectivity, was animated by his prior heuristic sympathy for a mode of Marxist explanation. (shrink)

I would like to suggest another way to go further toward a new economy of power relations, a way which is more empirical, more directly related to our present situation, and which implies more relations between theory and practice. It consists of taking the forms of resistance against different forms of power as a starting point. To use another metaphor, t consists of using this resistance as a chemical catalyst so as to bring to light power relations, locate their position, (...) and find out their point of application and the methods used. Rather than analyzing power from the point of view of its internal rationality, it consists of analyzing power relations through the antagonism of strategies.[…]Let us come back to the definition of the exercise of power as a way in which certain actions may structure the field of other possible actions. What, therefore, would be proper to a relationship of power is that it be a mode of action upon actions. That is to say, power relations are rooted deep in the social nexus, not reconstituted "above" society as a supplementary structure whose radical effacement one could perhaps dream of. In any case, to live in a society is to live in such a way that action upon other actions is possible-- and in fact ongoing. A society without power relations can only be an abstraction. Which, be it said in passing, makes all the more politically necessary the analysis of power relations in a given society, their historical formation, the source of their strength or fragility, the conditions which are necessary to transform some or to abolish others. For to say that there cannot be a society without power relations is not to say either that those which are established are necessary or, in any case, that power constitutes a fatality at the heart of societies, such that it cannot be undermined. Instead, I would say that the analysis, elaboration, and bringing into question of power relations and the "agonism" between power relations and the instransitivity of freedom is a permanent political task inherent in all social existence.[…]In effect, between a relationship of power and a strategy of struggle there is a reciprocal appeal, a perpetual linking and a perpetual reversal. At every moment the relationship of power may become a confrontation between two adversaries. Equally, the relationship between adversaries in society may, at every moment, give place to the putting into operation of mechanisms of power. The consequence of this instability is the ability to decipher the same events and the same transformations either from inside the history of struggle or from the standpoint of the power relationships. The interpretations which result will not consist of the same elements of meaning or the same links or the same types of intelligibility, although they refer to the same historical fabric, and each of the two analyses must have reference to the other. In fact, it is precisely the disparities between the two readings which make visible those fundamental phenomena of "domination" which are present in a large number of human societies.Michel Foucault has been teaching at the Collège de France since 1970. His works include Madness and Civilization , The Birth of the Clinic , Discipline and Punish , and History of Sexuality , the first volume of a projected five-volume study. (shrink)

Michel Foucault has become famous for a series of books that have permanently altered our understanding of many institutions of Western society. He analyzed mental institutions in the remarkable Madness and Civilization; hospitals in The Birth of the Clinic; prisons in Discipline and Punish; and schools and families in The History of Sexuality. But the general reader as well as the specialist is apt to miss the consistent purposes that lay behind these difficult individual studies, thus losing sight of (...) the broad social vision and political aims that unified them. Now, in this superb set of essays and interviews, Foucault has provided a much-needed guide to Foucault. These pieces, ranging over the entire spectrum of his concerns, enabled Foucault, in his most intimate and accessible voice, to interpret the conclusions of his research in each area and to demonstrate the contribution of each to the magnificent -- and terrifying -- portrait of society that he was patiently compiling. For, as Foucault shows, what he was always describing was the nature of power in society; not the conventional treatment of power that concentrates on powerful individuals and repressive institutions, but the much more pervasive and insidious mechanisms by which power "reaches into the very grain of individuals, touches their bodies and inserts itself into their actions and attitudes, their discourses, learning processes and everyday lives" Foucault's investigations of prisons, schools, barracks, hospitals, factories, cities, lodgings, families, and other organized forms of social life are each a segment of one of the most astonishing intellectual enterprises of all time -- and, as this book proves, one which possesses profound implications for understanding the social control of our bodies and our minds. (shrink)

Influential philosopher Michel Serres’s foundational work uses fable to explore how human relations are identical to that of the parasite to the host body. Among Serres’s arguments is that by being pests, minor groups can become major players in public dialogue—creating diversity and complexity vital to human life and thought. Michel Serres is professor in history of science at the Sorbonne, professor of Romance languages at Stanford University, and author of several books, including _Genesis._ Lawrence R. Schehr is (...) professor of French at the University of Illinois, Urbana-Champaign. Cary Wolfe is Bruce and Elizabeth Dunlevie Professor of English at Rice University. His books include _Zoontologies: The Question of the Animal _. (shrink)

Michel Serres is one of the most influential living theorists in European philosophy. This volume makes available a work which has a foundational place in the development of chaos theory, representing a tour de force application of the principles underlying Serres' distinctive philosophy of science.

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)

Politics, Philosophy, Culture contains a rich selection of interviews and other writings by the late Michel Foucault. Drawing upon his revolutionary concept of power as well as his critique of the institutions that organize social life, Foucault discusses literature, music, and the power of art while also examining concrete issues such as the Left in contemporary France, the social security system, the penal system, homosexuality, madness, and the Iranian Revolution.

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)

La question du phénomène précède de beaucoup la phénoménologie, elle s'ouvre avec la philosophie et l'accompagne tout au long de son histoire. Mais ce préalable incontournable - car être veut dire apparaître - est surdéterminé par une présupposition irréfléchie. De la Grèce à Heidegger, dans les problématiques classiques de la conscience et de la représentation, dans leurs critiques, dans la phénoménologie de l'intentionnalité et dans ses prolongements, "phénomène" désigne ce qui se montre à l'intérieur d'un horizon de visihilisation, l'Ek-stase d'un (...) Dehors. La mise en cause de ce monisme ontologique établit que l'Ekstase ne subsiste que sur le Fond de son anti-essence : immanence si radicale qu'elle ne se tient jamais à distance, incapable de se voix, âme sans Idée, vie dépourvue d'archétype mais liée à soi invinciblement, s'éprouvant dans le subir, le souffrir et le jouir de son propre pathos. Parce que, avant que ne se lève le monde, une Affectivité transcendantale accomplit en nous son Archi-Révélation en même temps qu'elle engendre notre ipséité, ce sont d'autres catégories, d'autres penseurs, une nouvelle phénoménologie qui sont requis si nous voulons parvenir, enfin, à l'intelligence de ce que nous sommes. (shrink)

INTRODUCTION THE PROBLEM OF THE BEING OF THE EGO AND THE FUNDAMENTAL PRESUPPOSITIONS OF ONTOLOGY "Mit dem cogito sum beansprucht Descartes, der Philosophic ...

In his book, Physical Relativity, Harvey Brown challenges the orthodox view that special relativity is preferable to those parts of Lorentz's classical ether theory it replaced because it revealed various phenomena that were given a dynamical explanation in Lorentz's theory to be purely kinematical. I want to defend this orthodoxy. The phenomena most commonly discussed in this context in the philosophical literature are length contraction and time dilation. I consider three other phenomena of this kind that played a role in (...) the early reception of special relativity in the physics literature: the Fresnel drag effect in the Fizeau experiment, the velocity dependence of electron mass in beta-ray deflection experiments by Kaufmann and others, and the delicately balanced torques on a moving charged capacitor in the Trouton-Noble experiment. I offer historical sketches of how Lorentz's dynamical explanations of these phenomena came to be replaced by their now standard kinematical explanations. I then take up the philosophical challenge posed by the work of Harvey Brown and Oliver Pooley and clarify how those kinematical explanations work. (shrink)

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...) art-status. But, what is more, I think they are artworks—specifically, sculptures. (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)

INTRODUCTION THE SEEMING CONTINGENCY OF THE QUESTION CONCERNING THE BODY AND THE NECESSITY FOR AN ONTOLOGICAL ANALYSIS OF THE BODY When we disclose and..

In this accessible and fascinating book, Michel Morange draws on recent advances in molecular genetics, evolutionary biology, astrobiology, and other disciplines to find today’s answers to the question of life.

Le christianisme bouleverse notre conception de l'homme parce qu'il refuse la manière dont celui-ci se comprend depuis toujours à partir du monde, de sa vérité et de ses lois. Selon le christianisme, l'homme ne procède pas du monde mais de Dieu: il est son " Fils ". Or Dieu est Vie, Vie qui ne se montre en aucun monde, qui s'éprouve elle-même dans son intériorité invisible. L'autorévélation de la Vie est l'essence de Dieu. Cette épreuve de soi de la Vie (...) fonde tout Soi et tout Moi, toute individualité et tout individu - tout " homme " concevable. L'opposition de la Vérité de la Vie et de la vérité du monde permet, d'autre part, de savoir que Jésus est le Christ. Dans le monde, Jésus a l'apparence d'un homme. C'est seulement en se plaçant à l'intérieur du mouvement de la Vie qu'on peut saisir comment celle-ci génère en elle un Premier Vivant et, en lui, tout vivant possible. Ce livre ne demande donc pas si le christianisme est vrai ou faux. Il met à nu le genre de Vérité que le christianisme professe et propose aux hommes. A partir d'une phénoménologie radicale du concept de " Vie ", il donne une idée extrêmement neuve, originale et forte de la Vérité du christianisme. (shrink)

It is commonly thought that authors can make anything whatsoever true in their fictions by artistic fiat. Harry Deutsch originally called this position the Principle of Poetic License. If true, PPL sets an important constraint on accounts of fictional truth: they must be such as to allow that, for any x, one can write a story in which it is true that x. I argue that PPL is far too strong: it requires us to abandon the law of non-contradiction and (...) entails a radical revision of otherwise ordinary commitments about truth in fiction. (shrink)

Readers of this volume will notice that it contains only a few papers on general relativity. This is because most papers documenting the genesis and early development of general relativity were not published in Annalen der Physik . After Einstein took up his new prestigious position at the Prussian Academy of Sciences in the spring of 1914, the Sitzungsberichte of the Berlin academy almost by default became the main outlet for his scientific production. Two of the more important papers on (...) general relativity, however, did find their way into the pages of the Annalen [35,41]. Although I shall discuss both papers in this essay, the main focus will be on [35], the first systematic exposition of general relativity, submitted in March 1916 and published in May of that year. (shrink)

Annoncé à grand fracas, le décryptage do génome humain devait nous révéler le secret ultime de la vie et ouvrir la voie à de nouvelles thérapies miracles. Espoirs déçus : à l'ère de la post-génomique, les secrets du vivant sont maintenant recherchés dans les théories de la complexité, dans la convergence des efforts des biologistes, des physiciens et des mathématiciens. Comment comprendre la signification de cette succession rapide d'objectifs apparemment différents, de cette alternance d'espoirs et de désillusions? Dans ce livre (...) novateur, Michel Morange propose une clé pour rendre compte de ces difficultés, et de beaucoup d'autres analogues touchant toutes les branches de la biologie. Les annonces sensationnelles reflètent l'espoir toujours déçu qu'une explication unique pourrait suffire. Or les faits biologiques - comme ceux relevant de bien d'autres disciplines scientifiques -ne peuvent être expliqués par un principe d'intelligibilité unique. Exemples à l'appui et de façon très pédagogique, Michel Morange montre pourquoi des explications différentes doivent être articulées pour décrire le fonctionnement des macromolécules aussi bien que l'évolution humaine ou le développement des cancers. Admettre une idée aussi simple n'est pas évident, car tout scientifique a été formé à privilégier un principe d'intelligibilité particulier. L'articulation entre explications différentes est pourtant indispensable pour le progrès des connaissances ; elle est aussi une exigence éthique ; elle est requise pour que la science conserve sa place dans nos sociétés. (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)

In publications in 1914 and 1918, Einstein claimed that his new theory of gravity in some sense relativizes the rotation of a body with respect to the distant stars and the acceleration of the traveler with respect to the stay-at-home in the twin paradox. What he showed was that phenomena seen as inertial effects in a space-time coordinate system in which the non-accelerating body is at rest can be seen as a combination of inertial and gravitational effects in a space-time (...) coordinate system in which the accelerating body is at rest. Two different relativity principles play a role in these accounts: the relativity of non-uniform motion, in the weak sense that the laws of physics are the same in the two space-time coordinate systems involved; what Einstein in 1920 called the relativity of the gravitational field, the notion that there is a unified inertio-gravitational field that splits differently into inertial and gravitational components in different coordinate systems. I provide a detailed reconstruction of Einstein's rather sketchy accounts of the twins and the bucket and examine the role of these two relativity principles. I argue that we can hold on to but that is either false or trivial. (shrink)

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)

This book’s basic argument is that the Freudian unconscious, far from constituting a radical break with the philosophy of consciousness, is merely the latest exemplar in a heritage of philosophical misunderstanding of the Cartesian cogito that interprets “I think, therefore I am” as “I represent myself, therefore I am” (in the classic interpretation of Heidegger, one of the targets of the book).

Notes prises par Jacques Lagrange lors du cours d'anthropologie donné par Michel Foucault en 1954-1955 à l'École Normale Supérieure.

In publications in 1914 and 1918, Einstein claimed that his new theory of gravity somehow relativizes the rotation of a body with respect to the distant stars and the acceleration of the traveler with respect to the stay-at-home in the twin paradox. What he showed was that phenomena seen as inertial effects in a space-time coordinate system in which the non-accelerating body is at rest can be seen as a combination of inertial and gravitational effects in a space-time coordinate system (...) in which the accelerating body is at rest. Two different relativity principles play a role in these accounts: the relativity of non-uniform motion, in the weak sense that the laws of physics are the same in the two space-time coordinate systems involved; what Einstein in 1920 called the relativity of the gravitational field, the notion that there is a unified inertio-gravitational field that splits differently into inertial and gravitational components in different coordinate systems. I provide a detailed reconstruction of Einstein's rather sketchy accounts of the twins and the bucket and examine the role of these two relativity principles. I argue that we can hold on to but that is either false or trivial. (shrink)

In 2018, the Art Gallery of Ontario retitled a painting by Emily Carr which contained an offensive word. Controversy ensued, with some arguing that unsanctioned changes to a work’s title infringe upon artists’ moral and free speech rights. Others argued that such a change serves to whitewash legacies of racism and cultural genocide. In this paper, I show that these concerns are unfounded. The first concern is not supported by law or the history of our titling practices; and the second (...) concern misses the mark by ignoring the gallery’s substantial efforts to avoid just such an outcome. Picking up on a suggestion from Loretta Todd, I argue that we can use Aboriginal Title as a model for thinking about the harms perpetuated by cultural appropriation, and the practices we should adopt to mitigate them. (shrink)

t. 1. De la phénoménologie -- t. 2. De la subjectivité -- t. 3. de l'art et du politique -- t. 4. Sur léthique et la religion.

In this critical notice we argue against William Craig’s recent attempt to reconcile presentism (roughly, the view that only the present is real) with relativity theory. Craig’s defense of his position boils down to endorsing a ‘neo-Lorentzian interpretation’ of special relativity. We contend that his reconstruction of Lorentz’s theory and its historical development is fatally flawed and that his arguments for reviving this theory fail on many counts.

. This paper takes as its point of departure two striking incongruities between scientific practice and trends in modern history and philosophy of science. Many modern historians of science are so preoccupied with local scientific practices that they fail to recognize important non-local elements. Many modern philosophers of science make a sharp distinction between explanation and evidence, whereas in scientific practice explanatory power is routinely used as evidence for scientific claims. I draw attention to one specific way in.

This volume is the first systematic presentation of the work of Albert Einstein, comprising fourteen essays by leading historians and philosophers of science that introduce readers to his work. Following an introduction that places Einstein's work in the context of his life and times, the book opens with essays on the papers of Einstein's 'miracle year', 1905, covering Brownian motion, light quanta, and special relativity, as well as his contributions to early quantum theory and the opposition to his light quantum (...) hypothesis. Further essays relate Einstein's path to the general theory of relativity and the beginnings of two fields it spawned, relativistic cosmology and gravitational waves. Essays on Einstein's later years examine his unified field theory program and his critique of quantum mechanics. The closing essays explore the relation between Einstein's work and twentieth-century philosophy, as well as his political writings. (shrink)