Recognized as a masterpiece of Nietzsche scholarship, NIETZSCHE AND THE VICIOUS CIRCLE is available here for the first time in English. Author Pierre Klossowski suggests that Nietzsche's ideas and beliefs did not stem from his personal pathology, but rather were applied in a pathological manner. Thereby Nietzsche's beliefs resonated dynamically and intellectually with his alternating lucidity and delirium.

This first English-language translation captures the excitement of the original text-already a contemporary classic, and will likely become a standard reference in the history of eighteenth-century thought, politics, and society, and in the ...

Long recognized as a masterpiece of Nietzsche scholarship, _Nietzsche and the Vicious Circle_ is made available here for the first time in English. Taking a structuralist approach to the relation between Nietzsche's thought and his life, Klossowski emphasizes the centrality of the notion of Eternal Return for understanding Nietzsche's propensities for self-denial, self-reputation, and self-consumption. Nietzsche's ideas did not stem from personal pathology, according to Klossowski. Rather, he made a pathological use of his best ideas, anchoring them in (...) his own fluctuating bodily and mental conditions. Thus Nietzsche's belief that questions of truth and morality are at base questions of power and fitness resonates dynamically and intellectually with his alternating lucidity and delirium. (shrink)

The thought of Pierre Klossowski, praised by Foucault, Blanchot, Deleuze, has been scarcely addressed by the philosophical community. We argue in this article that this is largely due to the frequent difficulty of understanding his work as a whole: both his artistic and literary production and his interpretations of Nietzsche or Sade form a coherent whole, whose significance has a deeply critical political scope. The notion of unproductive spending, which occupies a central place in Bataille's work, will be (...) rearticulated in Klossowski's reflections through the concepts of drive, phantasm, simulacrum, value and consumption. In The Living Currency, the political dimension of these terms appears clearly: relying on a rereading of Fourier and Sade, the author shows the extreme degree of deformation of what we assume as a reality in modern industrial society. In this sense, his thinking takes on special relevance today, as a revelation of the excess and unhingedness of a society in which production and consumption are reproduced without limit through the infinite reflections produced by the game between drives, ghosts and simulacra. (shrink)

This paper elucidates Pierre Klossowski’s relationship to the post-Kantian tradition, specifically as a part of the shift in twentieth-century French philosophy from a neo-Kantian epistemological approach to the emphasis on the primacy of language in the human subject and his place in society. In response to a variety of events (the reception of Hegelianism through the lenses of Kojève and Wahl, the Marxist critique of capitalism and the rise of European fascism) Klossowski develops a peculiar interest in (...) the works of Johann Georg Hamann, who can be considered to be either the first post-Kantian or the direct antecedent of post-Kantianism (given the fact that he influenced both Kant and many post-Kantians). As this paper argues, Klossowski published a collection of texts by Hamann as a direct response to the philosophical deadlock between conceptuality and immediate life that the French reception of Hegel emphasized. (shrink)

This paper elucidates Pierre Klossowski’s relationship to the post-Kantian tradition, specifically as a part of the shift in twentieth-century French philosophy from a neo-Kantian epistemological approach to the emphasis on the primacy of language in the human subject and his place in society. In response to a variety of events Klossowski develops a peculiar interest in the works of Johann Georg Hamann, who can be considered to be either the first post-Kantian or the direct antecedent of post-Kantianism. (...) As this paper argues, Klossowski published a collection of texts by Hamann as a direct response to the philosophical deadlock between conceptuality and immediate life that the French reception of Hegel emphasized. (shrink)

Pierre Klossowski’s last major theoretical text Living Currency saw it’s first official1 translation into English in May 2017, nearly fifty years after it was published in French. On the back of the book is a blurb quoting Foucault, in which he calls it ‘the greatest book of our time’. This was almost certainly hyperbole; but whether or not his appraisal was correct, it is a good book that advances a key to understanding Klossowski’s literary and visual relationship (...) to the exploited and monetized body, as this is the preoccupying theme throughout his fictional, non-fictional, and visual art. (shrink)

Shocking, brilliant, and eccentric, the French author, translator, and artist Pierre Klossowski (1905-2001) exerted a profound effect on French intellectual culture throughout the twentieth century. The older brother of the painter Balthus, secretary to the novelist Andre Gide, friend to Geroges Bataille and Maurice Blanchot, and heralded as one of the most important voices in the French "return to Nietzsche" by Michel Foucault and Gilles Deleuze, Klossowski pursued his singular vision of mortal embodiment through a variety of (...) scholarly manifestations. In Such a Deathly Desire, Klossowski's original interpretation of Nietzsche's eternal return is developed around the enigmatic figure of the "demon," then deepened with provocative readings of Gide's correspondence; Barbey d'Aurevilly's novel A Married Proest; and the intertwining of language and death in the work of Bataille, Blanchot, and Brice Parain. The book concludes with the powerful essay "Nietzsche, Polytheism, and Parody," in which Klossowski articulates the consequences of the eternal return and the meaning of Nietzsche's genealogy of the fabulation of the world. Intersecting with and confounding a range of disciplines - including psychoanalysis, literary criticism, gender studies, and philosophy - Klossowski's critical writings on language, literature, and the aesthetics of embodiment remain powerful and original contributions to contemporary concerns in the theoretical humanities. (shrink)

In this article the author discusses Pierre Klossowski’s first and second interpretation of the novels of Marquis de Sade. It is often stressed that there is a big difference between these interpretations: the first interprets Sade from a theological perspective; the second puts that Sade is an exponent of modernity. One can however argue that also Klossowski’s first theological reading interprets Sade as a product of modern thinking.

By comparing Pierre Klossowski’s works on Nietzsche and the Marquis de Sade, the paper attempts to clarify his understanding of the part played by the ‘bodily remainder’ in recruiting a following of readers to their texts. Klossowski’s designation of the ‘simulacrum’ of eternal return in Nietzsche’s philosophy is compared with his account of the role played by sodomy in Sade’s writings. Klossowski contends that, through these figures, a bodily contagion, is communicated to the reader, but esoterically: (...) that is, only to a select few, whose bodies can replicate the impulses that the text conceals. Ultimately, what Klossowski’s interpretations of Nietzsche and Sade achieve, however, is the dissimulation of identity, as well as of a decisive difference between the reader and the philosopher whom she reads. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 3-6MuseSearchJournalsThis JournalContents[Access article in PDF]Whispers of the Flesh Essays in Memory of Pierre KlossowskiIan JamesRussell Ford Pierre Klossowski—novelist, essayist, painter, and translator—was one of the most startling, original, and influential figures in twentieth-century French intellectual culture. The older brother of the well-known painter Balthus and a close associate of Georges Bataille, Klossowski's diverse oeuvre includes novels, philosophical essays, and translations, as well (...) as paintings and films. Confined thus far to an undeserved but somehow fitting shadow existence in the margins and notes of theorists who have become mainstays of Anglo-American criticism, Klossowski's own work has increasingly become a focus of critical interest for its decisive contribution to the development of thought and aesthetics in France from the 1950s onward. Born in 1905, the eldest son of Polish émigrés, Klossowski spent his first ten years in Paris in an artistic milieu, heavily influenced by the neoimpressionism of figures such as Bonnard and Derain. His father, Erich Klossowski de Rola, was a painter and art historian, the author of an important monograph on Daumier. His mother, Baladine, was also a painter and trained under Bonnard. While still a teenager Klossowski was introduced to the German poet Rainer Maria Rilke, with whom he became close and who in turn introduced him to the novelist André Gide. At eighteen he became Gide's secretary and assisted him with the drafts of his famous novel Les faux-monnayeurs.Not until 1930, however, did Klossowski's own career properly begin, when he translated with Jean-Pierre Jouve a collection of poems by Friedrich Hölderlin. Throughout his life Klossowski was a prolific and influential translator from both German and Latin into French, translating amongst others Nietzsche, Kafka, Heidegger, and Wittgenstein from the German, and Suetonius, Virgil, Augustine, and Tertullian from the Latin. While working for the prominent Parisian psychoanalyst René Laforgue, Klossowski published his first philosophical essay on the Marquis de Sade in 1933 in the Revue française de la psychanalyse. Scandalized by Klossowski's Nietzschean-inflected psychoanalytic interpretation of Sade's writing, Laforgue dismissed Klossowski immediately. Throughout the 1930s Klossowski made a number of key friendships and acquaintances, most importantly with Georges Bataille, but also many others, including Walter Benjamin, André Masson, Jean Wahl, and Maurice Heine. During this period he published several articles and collaborated with Bataille on the review Acéphale and in the avant-garde experiment of the Collège de Sociologie (where, it is said, he would attend meetings dressed in a soutane). During the war years Klossowski trained in a number of Catholic seminaries, a vocation which ultimately failed and led to the writing of his first novel, La vocation suspendue. In the postwar period he married [End Page 3] a war widow, Denise Morin Sinclair, who had been interned in Ravensbrück for her activities in the Resistance and who became the model for Roberte, a key figure in much of Klossowski's fiction and painting. After the war Klossowski began to publish the influential works for which he will chiefly be remembered: literary-philosophical essays on Sade and Nietzsche (among others), as well as six important novels written between 1950 and 1965, La vocation suspendue (1950), the three works, originally published separately, which went on to form the Lois de l'hospitalité trilogy—Roberte ce soir (1954), La révocation de l'Édit de Nantes (1959) and Le souffleur ou le théâtre de société (1960)‚—and, finally, Le Baphomet (1965).Klossowski's seminal 1947 work, Sade mon prochain, was one of the first full-length literary and philosophical studies of Sade's work to be published in France and marked a decisive break from earlier accounts. Whereas earlier treatments of Sade had focused either on biographical detail or on the medical and psychosexual import of his life and writing, Klossowski's reading was concerned with the intertwined figures of law and transgression in Sade's work. After Sade mon prochain French intellectuals and writers... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 8-21MuseSearchJournalsThis JournalContents[Access article in PDF]Klossowski's Reading of Nietzsche Impulses, Phantasms, Simulacra, StereotypesDaniel W. SmithIn his writings on Nietzsche, Pierre Klossowski makes use of various concepts—such as intensities, phantasms, simulacra and stereotypes, resemblance and dissemblance, gregariousness and singularity—that have no place in Nietzsche's own oeuvre. These concepts are Klossowski's own creations, his own contributions to thought. Although Klossowski consistently refused to characterize (...) himself as a philosopher ("Je suis une 'maniaque,'" he once said, "Un point, c'est tout!"),1 his work in its entirety was marked by an extraordinary conceptual creation. From this point of view, his Nietzsche and the Vicious Circle can be read as a work in philosophy—at least in the idiosyncratic sense given to this term by Gilles Deleuze, who defined philosophy as the creation or invention of concepts [Deleuze and Guattari 2]. No doubt, Klossowski remains an almost unclassifiable figure—philosopher, novelist, essayist, translator, artist—and attempting to analyze his work through the prism of philosophy may seem to be a reductive approach that belies the complexity of his exceptional oeuvre. Reading Klossowski as a conceptual innovator, however, at least has the advantage of allowing us to chart a consistent trajectory through his difficult and often labyrinthine text, without denying its other dimensions (affective, perceptive, literary, and so on). In what follows, then, I would like to examine three of Klossowski's most characteristic and important concepts—impulses and their intensities, phantasms, and simulacra and their stereotypes—as well as the precise interrelations he establishes among them. Taken together, these three concepts describe what Klossowski terms the tripartite economy of soul, which constitutes the implicit model through which he interprets Nietzsche's thought.1Impulses as Fluctuating IntensitiesKlossowski describes his books on both Nietzsche and Sade as "essays devoted not to ideologies but to the physiognomies of problematic thinkers who differ greatly from each other" ["Postface" 137, emphasis added]. This emphasis on the "physiognomy" of thinkers reflects Nietzsche's insistence on taking the body rather than the mind as a guide for philosophy since the body is a more accessible phenomenon, less surrounded by myth and superstition. "The body and physiology as the starting point," Nietzsche wrote. "Why?... The phenomenon of the body is the richer, clearer, more tangible [End Page 8] phenomenon.... Belief in the body is more fundamental than belief in the soul" [WP §§492, 489, 491]. Klossowski himself, however, when writing of the intensive status of the impulses, frequently makes use of the term "soul" (âme), owing in part, no doubt, to his interest in the theological literature of the mystics, such as Meister Eckhardt and Teresa of Avila. For the mystics, the depth of the soul is something irreducible and uncreated: it eludes the exercise of the created intellect, and can only be grasped negatively.2 Nonetheless, if one can find a similar apophaticism (or "negative theology") in Klossowski, it is related exclusively to the immanent and chaotic movements of the soul's intensive affects, and not to the transcendence of God. What is incommunicable in the soul (or body) are its "impulses"—their fluctuations of intensity, their rises and falls, their manic elations and depressive descents, which are in constant variation.Nietzsche himself had recourse to a highly varied vocabulary to describe what Klossowski summarizes in the term "impulse": "drive" (Triebe), "desire" (Begierden), "instinct" (Instinke), "power" (Mächte), "force" (Kräfte), "impulse" (Reize, Impulse), "passion" (Leidenschaften), "feeling" (Gefülen), "affect" (Affekte), "pathos" (Pathos), and so on.3 Klossowski frequently employs the musical term tonalité to describe these states of the soul's fluctuating intensities—their diverse tones, timbres, and changing amplitudes—which can take on various forms ("aggressiveness, tolerance, intimidation, anguish, the need for solitude, the forgetting of oneself" [NVC 6]). At bottom, what these impulses express are what Klossowski calls the "obstinate singularity" of the human soul, which is by nature noncommunicable; they constitute "the unexchangeable depth" (le fond inéchangeable) or "the unintelligible depth" (le fond unintelligible) of the soul. What makes every individual... (shrink)

Pierre Klossowski's career in philosophy is a brief but significant intervention into the manner in which the connections between desire, identity, and meaning are thought. Although Klossowski's influence on much of what is called French “post-structuralism” or “post-modernism” is frequently noted, Klossowski's development of the motif of the simulacrum is rarely traced in its proper context. Through readings of the texts of the Marquis de Sade, Georges Bataille, and Friedrich Nietzsche, as well as his own ruminations (...) on the polytheism of the ancient Roman cult of Diana, Klossowski constructs a critique not only of the identity of the self but also of the supposed unity of reason and rational signs. Klossowski's critique demonstrates how meaningful discourse is produced from the basis of incommunicable affects, which project images in consciousness that, only then, are able to take the form of iterable simulacra. Our “gregarious” discourse in language is, thus, formed only indirectly from the affects and acquires its supposed unity only as it fails to express those affects. (shrink)

What happens when philosophy and literature meet? This pioneering study of the essays and fiction of Georges Bataille, Pierre Klossowski, and Maurice Blanchot examines the relationship between the literary and the philosophical dimension of their work and throws new light on the radical singularity of their writing.

Long recognized as an important and abiding influence in the European artistic and intellectual circles of the last century, the work of Pierre Klossowski is slowly gaining recognition in the Anglo-American scholarly community. The older brother of the painter Balthus, a friend of Rilke and Gide among others, and a celebrated artist in his own right, Klossowski is a difficult if not impossible thinker to categorize. From quite early in his career, Nietzsche was an important influence on (...) Klossowski’s work. In addition to translating two volumes for Nietzsche’s Oeuvres Complètes (1967, 1976), as well as Heidegger’s four-volume work on Nietzsche (1976), Klossowski also wrote a number of essays on Nietzsche as well as a book, Nietzsche et le Cercle Vicieux (1969). In a note to Différence et Répétition, Gilles Deleuze, citing “Nietzsche, Polytheism, and Parody” as well as “Forgetting and Anamnesis in the Lived Experience of the Eternal Return of the Same,” writes that Klossowski’s work has “renewed the interpretation of Nietzsche.” “Nietzsche, Polytheism, and Parody” appeared as the final essay of Klossowski’s book, Un si funeste désir (Such a Deathly Desire), first published in 1963. It is one of two essays in the book that are devoted explicitly to Nietzsche; the second, “On Some Fundamental Themes of Nietzsche’s Gaya Scienza,” is the opening essay of the volume and had previously appeared as an introduction to Klossowski’s translation of The Gay Science. “Nietzsche, Polytheism, and Parody” had not previously appeared in print, although Klossowski had presented it as a lecture at the Collège de Philosophie in Paris in 1957. Together, the two essays bound a series of reflections on Gide, Blanchot, Bataille, and others, all of which appeared previously – sometimes in a different form – and that taken together explicate Klossowski’s conception of “the demon.” The conception of the demon, drawn from The Gay Science, is for Klossowski a figuration of the double life of the existing human being: both conscious, rational, goal-directed, and vital, passionate, a victim of intensities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Klossowski, Deleuze, and OrthodoxyEleanor Kaufman (bio)Among the many strange and wonderful things to be found there, Pierre Klossowski's oeuvre is a preeminent illustration of what divides univocity and equivocity and therefore serves as one of the twentieth century's most instructive models for thinking the complexity of the dialectic. Univocity and equivocity are significant both in their roots in Scholastic philosophy, as the idea that Being is (...) expressed in either one or several senses, and as belonging to a longstanding framework that helps demarcate the differences, nuanced yet significant, among members of the extraordinary generation of French intellectuals of which Klossowski was a part. Thus, these terms, apart from their theological and philosophical import, will serve as a heuristic for renarrating points of filiation and divergence among a series of prominent French thinkers, primarily Bataille, Klossowski, and Deleuze, but also extending backward to Sartre and forward to Badiou to frame the series. I will approach this in segmented fashion, first opposing Bataille's dialectic of transgression to Klossowski's more univocal method of disjunctive synthesis. When juxtaposed with Deleuze's Spinozist affirmation of univocity, however, Klossowski would seem to be more on the side of the equivocal. Whereas Deleuze criticizes the realm between the univocal and the equivocal as the lukewarm space of the analogical, my contention is that this middle realm allows for a space of movement and reversal that escapes the pitfalls Deleuze locates in the dialectic, and does so without a strict adherence to Spinozist univocity. Whereas Bataille and Deleuze remain closer to Klossowski in the tenor of their thought, I will nonetheless suggest in conclusion that Sartre and Badiou are actually closer to Klossowski on a formal level, in that each poses a similarly analogical challenge to the thought of the dialectic.For many reasons Bataille and Klossowski can be paired together. They were contemporaries, both born around the turn of the century, both writing in a variety of literary and philosophical genres, including pornographic or semi-pornographic fiction, and working outside the academy. Both wrote studies of Nietzsche, of Sade, and radical economic treatises. They were friends and fellow members in the late 1930s of the College of Sociology, which was modeled after a secret society, the members taking great interest in such topics as sacrifice and headlessness. Bataille and Klossowski wrote about each other. Both were at different points obsessed with Roman Catholicism, both at different points prepared to enter monastic orders, both in different fashions fell away. As might easily be imagined, their fiction is an outrageous mixture of the sacred and the profane, including sexual encounters and other desecrations staged at church alters and the like. Both work in that realm where pornography and theology come together. Yet while the more familiar Bataille uses pornography toward transgressive aims, the lesser-known Klossowski uses a more nuanced and interesting mechanism of boredom to elaborate an intrinsically disjunctive structure.Even boredom, for Bataille, partakes of the transgressive. In his novella The Story of the Eye, the narrator describes offhandedly how he and his companion Simone have just found their friend Marcelle's body. She has hung herself. The narrator and Simone [End Page 47] take the body down and have sex for the first time next to it. Then the narrator describes the boredom that ensues even in the face of death: "We were perfectly calm, all three of us, and that was the most hopeless part of it. Any boredom in the world is linked, for me, to that moment and, above all, to an obstacle as ridiculous as death. But that won't prevent me from thinking back to that time with no revulsion and even with a sense of complicity. Basically, the lack of excitement made everything far more absurd, and thus Marcelle was closer to me dead than in her lifetime, inasmuch as absurd existence, so I imagine, has all the prerogatives" [59–60]. This is actually an unusually meditative moment in Bataille's story of murder, priests, bullfights, and constant sex.1 Here his narrator links boredom to death, and to a reflection on the absurd boundary between life and death. But by commenting on boredom... (shrink)

Drawing on the work of Jacques Derrida, Marking Time presents an innovative account of literary time, in which the temporality and ontology of the literary are seen to be essentially intertwined. Individual chapters trace the stakes of this view of time for the status and 'economy' of the literary text across five 20th-century writers in French whose work is characterized by a fundamental and searching self-questioning: Maurice Blanchot, Samuel Beckett, Louis-René des Forêts, Pierre Klossowski, and Roger Laporte. A (...) final chapter draws on these analyses to develop an inherently unstable figure of 'saving time', which has important repercussions for how we conceive of literary value. (shrink)

During the late 1930s, towards the beginning of a long and colourful career as a translator, writer, novelist and painter, Pierre Klossowski proved an attentive reader of the work of th...

Rajesh Sampath ABSTRACT: This paper excavates certain impulses that are buried in Pierre Klossowski’s 1968 edition of his original 1947 work, Sade My Neighbor. We argue that the self-suffocating nature of our historical present reveals the problem of an epochal threshold: in which twenty-first century democracy itself is threatened with death and violence in delusional ….

Comment devient-on philosophe? Par quel sursaut un Aristoclès se fait-il Platon, jusqu'à s'imposer dans la liste des " auteurs philo " Il faut enquêter, non pas sur la vie privée, mais sur la vie intime : rumination intellectuelle, ton sur lequel on parle, motivations amoureuses... Ce qui fait un philosophe, c'est un immense travail sur soi, et la rencontre d'autres philosophes, vivants, de leurs problématiques. Mémoire sémantique + obsession métaphysique, voilà le code génétique du philosophe. Il débute par un attentat (...) religieux, puisqu'il commence sa carrière en niant tel ou tel sacré. Bien sûr, il vaut mieux être mâle, communiquer par les livres adopter la langue dominante, écrire quand on est célibataire. Comment gagner sa vie? Pas forcément en étant enseignant, comme c'est le cas aujourd'hui. Le profil du philosophe nous le révèle orphelin, vivant à l'étranger, souvent laid, jamais fou, et serial thinker, prêt à changer de philosophie pourvu qu'il reste, lui, à menacer le monde donnera ou donnera pas du sens à notre vie? Le philosophe est l'être inquiet qui pense inquiéter l'Être par deux trois mots bien aiguisés. (shrink)

During the last two decades, sociologist Pierre Bourdieu has become a dominant force in cultural activity ranging from taste in music and art to choices in food and lifestyles. _The Field of Cultural Production_ brings together Bourdieu's major essays on art and literature and provides the first introduction to Bourdieu's writings and theory of a cultural field that situates artistic works within the social conditions of their production, circulation, and consumption. Bourdieu develops a highly original approach to the study (...) of literary and artistic works, addressing many of the key issues that have preoccupied literary art and cultural criticism in the last twentieth century: aesthetic value and canonicity, intertextuality, the institutional frameworks of cultural practice, the social role of intellectuals and artists, and structures of literary and artistic authority. Bourdieu elaborates a theory of the cultural field which situates artistic works within the social conditions of their production, circulation, and consumption. He examines the individuals and institutions involved in making cultural products what they are: not only the writers and artists, but also the publishers, critics, dealers, galleries, and academies. He analyzes the structure of the cultural field itself as well as its position within the broader social structures of power. The essays in his volume examine such diverse topics as Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power. The Field of Cultural Porduction will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art, and cultural studies. (shrink)

Over the last four decades, the French sociologist Pierre Bourdieu produced one of the most imaginative and subtle bodies of social theory of the postwar era. When he died two years ago, he was considered to be a thinker on a par with Foucault, Barthes, and Lacan--a public intellectual as influential to his generation as Sartre was to his. Science of Science and Reflexivity will be welcomed as a companion volume to Bourdieu's now seminal An Invitation to Reflexive Sociology (...) . In this posthumous work, Bourdieu declares that science is in danger of becoming a handmaiden to biotechnology, medicine, genetic engineering, and military research--that it risks falling under the control of industrial corporations that seek to exploit it for monopolies and profit. Science thus endangered can become detrimental to mankind. The line between pure and applied science, therefore, must be subjected to intense theoretical scrutiny. Bourdieu's goals in Science of Science and Reflexivity are to identify the social conditions in which science develops in order to reclaim its objectivity and to rescue it from relativism and the forces that might exploit it. In the grand tradition of scientific reflections on science, Bourdieu provides a sociological analysis of the discipline as something capable of producing transhistorical truths he presents an incisive critique of the main currents in the study of science throughout the past half century and he offers a spirited defense of science against encroaching political and economic forces. A masterful summation of the principles underlying Bourdieu's oeuvre and a memoir of his own scientific journey, Science of Science and Reflexivity is a capstone to one of the most important and prodigious careers in the field of sociology. (shrink)

Written with verve and intensity (and a good bit of wordplay), this is the long-awaited study of Flaubert and the modern literary field that constitutes the ...

Examining in detail the work of consecration carried out by elite education systems, Bourdieu analyzes the distinctive forms of power—political, intellectual, bureaucratic, and economic—by means of which contemporary societies are governed.

Replete with madwomen, murderers, musicians, and mystics, "Lonely Woman" dramatically interweaves the lives of five women. It remains Takako Takahashi's most sustained and multifaceted fictional realization of her concept of "loneliness.".

Martin Heidegger's overt alliance with the Nazis and the specific relation between this alliance and his philosophical thought - the degree to which his concepts are linked to a thoroughly disreputable set of political beliefs - have been the topic of a storm of recent debate. Written ten years before this debate, this study by France's leading sociologist and cultural theorist is both a precursor of that debate and an analysis of the institutional mechanisms involved in the production of philosophical (...) discourse. Though Heidegger is aware of and acknowledges the legitimacy of purely philosophical issues (in his references to canonic authors, traditional problems, and respect for academic taboos), Bourdieu points out that the complexity and abstraction of Heidegger's philosophical discourse stems from its situation in the cultural field, where two social and intellentual dimensions - political thought and academic thought - intersect. Bourdieu concludes by suggesting that Heidegger should not be considered as a Nazi ideologist, that there is no place in Heidegger's philosophical ideas for a racist conception of the human being. Rather, he sees Heidegger's thought as a structural equivalent in the field of philosophy of the 'conservative revolution', of which nazism is but one manifestation. (shrink)

The Meditations of Marcus Aurelius are treasured today--as they have been over the centuries--as an inexhaustible source of wisdom. And as one of the three most important expressions of Stoicism, this is an essential text for everyone interested in ancient religion and philosophy. Yet the clarity and ease of the work's style are deceptive. Pierre Hadot, eminent historian of ancient thought, uncovers new levels of meaning and expands our understanding of its underlying philosophy. Written by the Roman emperor for (...) his own private guidance and self-admonition, the Meditations set forth principles for living a good and just life. Hadot probes Marcus Aurelius's guidelines and convictions and discerns the hitherto unperceived conceptual system that grounds them. Abundantly quoting the Meditations to illustrate his analysis, the author allows Marcus Aurelius to speak directly to the reader. And Hadot unfolds for us the philosophical context of the Meditations, commenting on the philosophers Marcus Aurelius read and giving special attention to the teachings of Epictetus, whose disciple he was. The soul, the guiding principle within us, is in Marcus Aurelius's Stoic philosophy an inviolable stronghold of freedom, the "inner citadel." This spirited and engaging study of his thought offers a fresh picture of the fascinating philosopher-emperor, a fuller understanding of the tradition and doctrines of Stoicism, and rich insight on the culture of the Roman empire in the second century. Pierre Hadot has been working on Marcus Aurelius for more than twenty years; in this book he distills his analysis and conclusions with extraordinary lucidity for the general reader. (shrink)

avec de nombreux textes inédits Pierre Dugac. APPENDICE XVII Wilhelm WEBER : Brie)'e an Richard Dedekind (Cod. Ms. Richard Dedekind 14, II; Niedersàchsische Staats- und Universitàts- bibliothek Gôttingen) Gôttingen 10. Aug.

Developing earlier studies of the system of numbers in Mundurucu, this paper argues that the Mundurucu numeral system is far more complex than usually assumed. The Mundurucu numeral system provides indirect but insightful arguments for a modular approach to numbers and numerals. It is argued that distinct components must be distinguished, such as a system of representation of numbers in the format of internal magnitudes, a system of representation for individuals and sets, and one-to-one correspondences between the numerosity expressed by (...) the number and its metrics. It is shown that while many-number systems involve a compositionality of units, sets and sets composed of units, few-number languages, such as Mundurucu, do not have access to sets composed of units in the usual way. The nonconfigurational character of the Mundurucu language, which is related to a property for which we coin the term 'low compositionality power', accounts for this and explains the curious fact that Mundurucus make use of marked one-to-one correspondence strategies in order to overcome the limitations of the core system at the perceptual/motor interface of the language faculty. We develop an analysis of a particular construction, parallel numbers, which has not been studied before, elucidating the whole system. This analysis, we argue, sheds new light on classical philosophical, psychological and linguistic debates about numbers and numerals and their relation to language, and more particularly, sheds light on few-number languages. (shrink)