Pendant plusieurs années, Geoffroy de Lagasnerie s’est rendu à la cour d’assises de Paris. Il a vu être jugés et condamnés des individus accusés de braquage, d’attentat, d’assassinat, de coups mortels, de viol. A partir de cette expérience, il propose une réflexion sur l’Etat pénal, le pouvoir et la violence. Nos manières de rendre la Justice s’inscrivent dans un système général et a priori paradoxal : pour juger, les procès construisent une narration individualisante des acteurs et des causes de (...) leurs actes ; mais, pour réprimer, ils transforment chaque action interindividuelle en agression contre la «société» ou contre l’Etat. Comment comprendre ce système du jugement et de la répression et ce jeu des catégories pénales? La Loi est souvent présentée comme instaurant le règne de la raison contre les réactions passionnelles. Ne produit-elle pas en réalité des effets de dépossession et du traumatisme? A quelles conditions une sociologie critique pourrait-elle nous donner les moyens d’imaginer un droit moins violent, un Etat moins souverain et une justice plus démocratique? En mêlant récits et analyses théoriques, Geoffroy de Lagasnerie montre que l’institution judiciaire ne forme pas seulement une réponse à la délinquance. La scène du tribunal, où un individu est forcé de comparaître devant des juges, est un miroir grossissant de notre appartenance à l’Etat. Si bien que, au bout du compte, cet ouvrage offre une exploration de notre condition de sujet politique. Geoffroy de Lagasnerie, philosophe et sociologue, est professeur à l’Ecole nationale supérieure d’arts de Paris-Cergy. Il est l’auteur notamment de L’Art de la révolte. Snowden, Assange, Manning (Fayard, 2015), La Dernière Leçon de Michel Foucault (Fayard, 2012), Logique de la création (Fayard, 2011). (shrink)

Ce sont cent intellectuels de France et des quatre coins du monde que Chantal Delsol et Giulio De Ligio ont réunis ici pour une enquête sans précédent sur l'état planétaire de la démocratie.00À l'heure des isolationnismes, des autocraties et des populismes, qu'en est-il de la théorie et de la pratique de ce qui semblait hier encore le bien politique absolu, et le premier critère progressiste de l'ère moderne?00Embrassant de Washington à Beijing, de Dublin à Bucarest, sans oublier Bruxelles et (...) class='Hi'>Paris, mais aussi l'Amérique du Sud ; détaillant les concepts et les idéologies ; décrivant les institutions et les pouvoirs, cette somme, savante, libre et engagée, répond à cette question cruciale.00Face à la tentation illibérale, un véritable ouvrage collectif de débat et un appel à la raison des peuples."--Page 4 of cover. (shrink)

In diesem Open-Access-Buch wird Marc Richirs Projekt einer Neugründung der Phänomenologie untersucht, das unter dem Leitfaden der Spannung des konkreten Leibes und der subjektiven Leiblichkeit als Weltbezüglichkeit das Phänomen als Phänomen in den Blick zu bekommen versucht. Das Selbst fällt für Richir weder mit dem Leib (dem Phänomenologischen) noch mit dem Körper (dem Symbolischen) zusammen. Zwischen beiden Registern besteht ein unvermeidlicher Abstand, der auf den Überschuss der Erfahrung, das Abenteuer der Sinnbildung in ihrer unendlichen Mannigfaltigkeit hindeutet. Die These der Studie (...) ist, dass der Überschuss des Leibes und der Leiblichkeit im Überschuss des Sprachphänomens bezeugt ist und dass die Spannung zwischen der phänomenologischen Darstellung des Leibes bzw. der Leiblichkeit und ihrer symbolischen Bestimmung im Sprachlichen aufgezeigt werden kann. Zudem wird die interdisziplinäre Anschlussfähigkeit des Ansatzes Richirs profiliert. Der Autor Dr. Dominic Nnaemeka Ekweariri studierte an der Päpstlichen Universität Urbaniana Rom, an der Imo State University Nigeria sowie an der Ruhr-Universität Bochum und erhielt seinen Ph.D. von der Bergische Universität Wuppertal. Er ist Mitglied des Marc Richir Archivs am Institut für Transzendentalphilosophie und Phänomenologie an der Bergischen Universität Wuppertal, wissenschaftlicher Mitarbeiter am Lehrstuhl für Fundamentaltheologie und Religionsphilosophie an der Westfälischen Wilhelms-Universität in Münster und Postdoktorand am Institut Catholique de Paris in Frankreich. (shrink)

L'oeuvre de Jean-Luc Marion de l'Académie française, s'est progressivement imposée sur la scène philosophique française et internationale depuis plus de trois décennies. Successeur d'Emmanuel Levinas à la chaire de métaphysique de Paris-IV Sorbonne (1995-2011) et successeur de Paul Ricoeur à l'University of Chicago (2003-2011), il occupe aujourd'hui, succédant à David Tracy, la chaire de théologie fondamentale de cette même université américaine, ainsi que la Chaire Domi- nique Dubarle : "Philosophie et théologie" de l'Institut catholique de Paris. (...) Lorsqu'il récapitule son itinéraire de recherche, J-L Marion distingue trois "moments " : les études cartésiennes, la phénoménologie et la théologie. De nombreux travaux, plusieurs thèses de doctorat lui ont été déjà consacrés dans ces différents champs où elle continue cependant de s'élaborer, suscitant l'admiration, mais aussi, le plus souvent en raison de sa haute technicité conceptuelle, de lourdes incompréhensions. Le présent ouvrage, issu d'une séance publique de débats et intégrant les "réponses" du principal intéressé, n'a pas pour seule ambition de lever celles-ci ; en ouvrant les trois volets de l'oeuvre, il engage un dialogue direct avec l'auteur, interrogeant l'une des pensées philosophiques les plus fécondes de notre temps. (shrink)

Déjà connu par des travaux sur Nietzsche et Marx, l'auteur, jésuite et professeur à l'Institut catholique de Paris, s'interroge sur les fondements éthiques de l'action politique. Il prône la substitution au manichéisme ambiant d'une approche pluraliste où les valeurs chrétiennes n'aient pas à se renier pour être efficaces.

In lieu of an abstract, here is a brief excerpt of the content:Toward the Materiality of Aesthetic ExperiencePeter de Bolla (bio)Over the last twenty years or so it has become a commonplace in discussions of "aesthetics" or of "art" in the most general sense to note that the term "aesthetics" was only very recently invented by Alexander Baumgarten in 1735, where it appears in his Meditationes philosophicae de nonnullis ad poema pertinentibus [see Menke 40; Dickie; Eagleton]. But the force of (...) this observation in regard to the relative youth of the concept is rarely, if ever, commented upon. As many philosophers and critics have pointed out, Baumgarten's use of the term was not primarily angled at what today might be unproblematically called "artworks"—say, paintings in the European grand master tradition—since his new kind of investigation was to be a "science of sensual recognition," that is, a general inquiry into how we come to know the world from the evidence of our senses. But, as is also frequently remarked, early on in the tradition of speculation now associated with "aesthetics as the study of art" the mutual attraction (to put it in the most anodyne terms) of "art" and "aesthetics" seems to have been extremely strong. As Jonathan Ree remarks, "the real begetter of the philosophical doctrine connecting the arts with the empirical senses—what we might call the aesthetic theory of the arts—was Gotthold Ephraim Lessing" [58]. From this point on (for heuristic purposes it may be identified with the date of publication of Lessing's Laokoon in 1766), artworks, which heretofore had not required a specific branch of inquiry in order for them to make sense or be conceptually grounded as art, are almost universally assumed to require "aesthetic" contemplation or appreciation.1 It is curious, then, that before 1766 such a mode of experiencing artworks had not been felt to be lacking.One might understand this observation both historically and philosophically, and both approaches, it seems to me, are needed. In the case of the first, a number of material effects conspired across mid-eighteenth-century Europe to produce what was in essence the modern art market. These include the legal establishment of copyright, first in England in 1709 but only by the end of the century in France and Germany; the foundation of various institutions whose primary purpose was the promotion and establishment of the fine arts: academies of painting, sculpture, or letters either with or without royal patronage; the public exhibition of paintings (from 1737 in France and 1761 in England); the opening of royal collections to public view (during the second half of the century in London, Paris, Munich, Vienna and Rome); the development of public concerts of secular music (in small scale from the 1670s in England but only becoming fully integrated in fashionable social life by mid-century); the construction of purpose-built concert venues (the Gewandthaus in Leipzig, a former cloth merchant's hall, was remodeled in 1781 in order to accommodate a resident orchestra, in effect becoming the first dedicated concert hall in Europe); the foundation of literary periodicals and review media; the emergence of social spaces and rituals encompassing polite discussion of [End Page 19] literature (coffeehouses, the construction of dedicated library rooms in domestic settings); and the promotion of architecture to a fine art through various societies, competitions, and the public display of architectural drawings in exhibition contexts (the Royal Academy yearly show included both drawings and models). These and other material conditions helped define the fine arts and construct a market in and for them.2 By the 1770s the category of the "fine arts" was well established in Britain, Germany, and France: Charles Batteux's Les beaux arts reduit a un meme principe, first published in France in 1746, was quickly translated into English as The Polite Arts; or, a Dissertation on Poetry,Painting, Musick, Architecture, and Eloquence in 1749 and into German in 1751. By 1771 a four-volume General Theory of the Fine Arts had been published for the German public by J. G. Sulzer.All of this points to the fact that the concept of the "artwork" is subject to both historical and material pressures. Prior to the mid-eighteenth... (shrink)

The guest editors would like to thank the University of Paris and the ENSA Paris-Val de Seine for having provided premises to successfully host the 2018 "Measurement at the Crossroads" conference in Paris.Our thanks extend to our funding sources: the conference was made possible thanks to the generous support of the Institut Humanités, Sciences et Sociétés, the SPHERE laboratory and the Laboratoire Matériaux et Phénomènes Quantiques of the University of Paris, the department of History and (...) Philosophy of Science of the University of Paris, the Laboratoire National de métrologie et d'Essais, and the University of Geneva.We would like to thank the many people who contributed to the organization of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 34.2 (2006) 3-13 [Access article in PDF] Biographical Illusion and Methodological Reality Leland De La Durantaye Pierre Bourdieu. Esquisse Pour Une Auto-Analyse. Paris: Raisons d'Agir, 2004. 1 Like his student and friend Nietzsche, Jacob Burckhardt often stressed the necessity for a scholar to work in solitude. Like Nietzsche, he also possessed a gift for acidic analogy and likened the world of academia to a group of dogs (...) sniffing one another.Few observers of the academic interactions of his time had such sharp senses as Pierre Bourdieu, and few have been as torn between solitary reflection and communal exchange. Trained by France's most elite academic institutions (such as the celebrated Parisian lycée Louis-le-Grand and the even more celebrated École Normale Supérieure), Bourdieu was grateful for the opportunities that this training afforded him. And he felt that this gratitude could best be repaid by submitting those elite academic institutions and their insular world to an unsparing critique, to unveiling the distance that separated their stated ideals from their real effects.Like Bergson and Jaurès, like Sartre and Aron, like Foucault and Derrida, Bourdieu studied that which was most difficult and most prestigious where it was most difficult and prestigious: philosophy at the École Normale Supérieure. Like those famous fellow alumni, he was a brilliant student, and like them, he longed to distinguish his personal vision from those around him. This led him to do something surprising, something that, despite their separate and significant dissatisfactions with the philosophy of their day, neither Bergson nor Sartre, neither Foucault nor Derrida ever did: he abandoned philosophy. He left what he saw as the intellectual royal road for the most pedestrian of paths—that of sociology.As he often reminded his readers, sociology was in a sorry state when he entered it. Both in academic appraisal and the popular imagination, it was considered dry and provincial. It was thought to have no true intellectual adventure in it—nothing of the ethnologist tramping through the rain forests of the Amazon, nothing of the lone philosopher working through the night on an opus to end metaphysics. It was laborious and abstract; it dealt in statistical generalities. Bourdieu repeatedly described sociology as "the pariah of disciplines."1 He had, however, a special mission for it in mind. [End Page 3]In Bourdieu's posthumous memoir Esquisse pour une auto-analyse, published in February 2004—two years after his death—by the small publishing house he helped found, Raisons d'Agir, he notes how, "a bit as a joke," he had often defined himself as "the leader of a liberation movement aiming to free the social sciences from philosophy's imperialism" [94].2 From early on in his career, he had wished to revolt against the "empire of the total philosopher"—an empire reigned over by, more than any other, Jean-Paul Sartre [cf. 25].3 Looking back upon this decisive period of his development, Bourdieu goes so far as to state that the shaping of his identity was done "against everything which the Sartrian enterprise represented for me" [37]. In historical accounts, Sartre is often given as counterfigure his friend and fellow normalien Raymond Aron. In his Esquisse, Bourdieu proposes a different, and less conventional, counterfigure for the imperial philosopher: the brilliant Austrian satirist and cultural critic Karl Kraus. Bourdieu notes the particular affection he had always felt for Kraus and attributes it to the latter's singular capacity for "critical reflectivenesss" [37]. Subtly, and appropriately, Bourdieu follows this remark with something that occurs nowhere else in his memoir: an epigram (the composing of which Kraus excelled in). Bourdieu writes: "there are a great many intellectuals who question the world, but there are very few intellectuals who question the intellectual world" [37]. The remark could not more compactly and precisely reflect what Bourdieu had aspired all his life to do: to excel in the art and science of questioning the intellectual world. 2 Leo Spitzer liked to cite Friedrich Gundolf's dictum "Methode ist Erlebnis" (method is lived experience). Nearing the end of his career... (shrink)

Marcel Beaufils fut un pedagogue exceptionnel qui exerca une influence decisive sur l'evolution de l'esthetique musicale en France, a partir des annees 50. Or, parmi ses ouvrages, Musique du son, musique du verbe est tres certainement celui qui porte le plus fortement la marque de son activite d'enseignant au Conservatoire National Superieur de Musique de Paris ; cette mission, il semblait l'entendre davantage comme celle d'un declencheur d'idees, catalyseur, plutot que du transmetteur d'un savoir fige une fois pour toutes. (...) Bouleversant toute tentative de classification academique, toute certitude acquise, ce livre laisse des pointilles ; un grand souffle traverse son ecriture. N'en deplaise aux musicographes, il s'agit la d'un ouvrage de creation, qui nous rappelle que Marce Beaufils etait egalement un ecrivain qui savait manier le verbe a la fois en tant que dramaturge et en tant que poete. (shrink)

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. In March 2009, Agamben was invited to speak in Paris’ Notre-Dame Cathedral in the presence of the Bishop of Paris and a number of other high-ranking church officials. His resulting speech, a stunningly lucid and provocative look at the (...) history and state of the Church and its role in society, is presented here. _The Church and the Kingdom_ is at once a pointed attack on the institutional structure of the Catholic Church and a theoretical excursus on the concepts of messianic time and economy. Presenting an exegesis of certain key passages in the New Testament, Agamben examines the philology and philosophy at the root of the Church and of its earthly reign. With its examinations of the foundational texts of the Church, which are also the foundational texts of our modern idea of economy, _The Church and the Kingdom_ reveals significant connections and parallel ideologies which are imperative to understanding the current global situation. This edition of Agamben’s text is accompanied by photographs by artist Alice Attie. Made from folded and twisted reproductions of paintings culled from Christian iconography, these works of art evoke the restless challenge that well-characterizes Agamben’s four decades of philosophy and critique. This book will be welcomed by Agamben’s many readers across the disciplines. (shrink)

Cet ouvrage d'Etienne Gilson offre au lecteur la reunion des lecons donnees a l'Universite de Louvain en 1952, lesquelles prennent toute leur ampleur par cette serie qu'elles forment, s'attachant a accorder une dimension toute historique et philosophique a la notion de Chretiente. L'auteur ne se propose pas d'elucider les rapports entre temporel et spirituel, mais d'eclairer la notion de peuple chretien. Pour cette raison il ne s'agit pas d'enreferer aux Peres de l'Eglise, mais de preferer une interrogation laique qui nous (...) permette de discriminer entre illusion et realite de l'idee de Chretiente. En d'autres termes, Etienne Gilson s'efforce de criconscrire chacune des fausses notions de Chretiente, chacune des parodies de la cite de Dieu, de sorte a esquisser ce que peut etre une veritable et commune appartenance a la Respublica fidelium. (shrink)