This article aims to establish that literature is an ideal laboratory for undertaking some phenomenological experimentations, even when not explicitly intended by the author. By considering three works that all tell the story of one man gone far away from his country and isolated in a mysterious, fascinating and closed place, we propose to study the complex relations that weave between space and time and between landscape and consciousness, and to deduce from it their phenomenological impact. We attempt to show (...) that space localization and organisation influence and even modify the behaviour and the personality of humans, and induce a new relation to temporality: the mountain arouses boredom, the desert prepares the expectation and the shore brings the facing of one’s fate. (shrink)

This article aims to establish that literature is an ideal laboratory for undertaking some phenomenological experimentations, even when not explicitly intended by the author. By considering three works (Der Zauberberg by Thomas Mann, Il deserto dei Tartari by Dino Buzzati and Le rivage des Syrtes by Julien Gracq) that all tell the story of one man gone far away from his country and isolated in a mysterious, fascinating and closed place, we propose to study the complex relations that weave between (...) space and time and between landscape and consciousness, and to deduce from it their phenomenological impact. We attempt to show that space localization and organisation influence and even modify the behaviour and the personality of humans, and induce a new relation to temporality: the mountain arouses boredom, the desert prepares the expectation and the shore brings the facing of one’s fate. (shrink)

The aim of this paper is to show that the way in which Pascal reacts to Montaigne’s attempt of recovering the ancient conception of philosophy as a way of life by reworking certain elements he borrowed from the sceptical tradition will have a considerable impact on the similar philosophical project Nietzsche tries to develop in his so-called middle period works (section III of this paper). Nietzsche’s starting point is the diagnosis that the crisis of Christianity in Early Modern Europe did (...) not make room for the development of a contemplative life emancipated from religious illusions. Instead of that, it was followed by the degradation, not to say the complete suppression of contemplative life and the immersion in modern activism (see CS 359, BGE 58). The trilogy Nietzsche dedicated to the Free Spirits is an attempt to directly counteract this tendency and regain a non-religious sense of contemplative life in the most unlikely context of the bourgeois society of the second half of the Nineteenth Century. I intend to show that by the time of publishing Daybreak, Pascal becomes his most stimulating opponent. Before doing it, I reconstruct the way Montaigne receives and transforms the heritage of ancient scepticism (section I) and, thereafter, I proceed to investigate how Pascal reacts to the revival of ancient scepticism, putting special emphasis on the way he tries to undermine the ideal of a contemplative life freed from the tutelage of Christianity, a philosophical project which had in Montagne its most consequent representative (section II). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 371-373 [Access article in PDF] Book Review French Fiction in the Mitterrand Years: Memory, Narrative, Desire French Fiction in the Mitterrand Years: Memory, Narrative, Desire, by Colin Davis & Elizabeth Fallaize; 160pp. Oxford: Oxford University Press, 2000, $24.95. Like the Mitterrand era itself, Davis and Fallaize's French Fiction in the Mitterrand Years is somewhat uneven. The election of François Mitterrand in 1981 as the (...) President of the Fifth Republic was a milestone in modern French history. After the conservative politics of the 1960s and 70s, the election of a socialist president and legislature seemed to offer the possibility of a new political and intellectual atmosphere. Indeed, the first two years of Mitterrand's presidency brought sweeping reforms. However, several scandals, continued economic problems and later "cohabitation" with a right-wing legislative majority muted the original verve. Mired in partisan politics, the government often appeared ineffectual.As with the political arena, French fiction of the 1980s was produced under the shadow of another long-standing French institution--the nouveau roman. Again we find a new direction, a turning-away from the past during the 1980s. Yet there was no outright refusal. There were no manifestos or polemical articles written by budding novelists, no claim to Literature. As Annie Ernaux describes her work Une Femme (1987): "Mon projet est de nature littéraire [...]. Mais je souhaite rester, d'une certaine façon, au-dessous de la littérature" (My project is of a literary nature [...]. But I wish to remain, in a certain way, beneath literature (p. 144).This lack of pretension is important, for it helps us better understand the writing of the period. As Davis and Fallaize point out, in the fiction of the Mitterrand years we find a return to history, to the subject, and to storytelling, three areas disdained by the new novelists of the 1950s and 60s (pp. 12-15). But at the same time, there is not an elegiac return to the conventions of the past. There are no didactic tales of Lucien de Rubempré's lost illusions. A good example of this is Patrick Roegiers's Beau Regard (1990), the account of a dinner during which hardly anyone speaks, told by a narrator who knows no one else at the table. Davis and Fallaize note: "In these novels the event is merely an incident, the story no more than an anecdote, and the anecdote merely a fait divers" (p. 147). Although not inconsequential, argue Davis and Fallaize, there is an unquestionable modesty to these texts.In the introduction to their work Davis and Fallaize write: "The aim of the current book is to analyze some of the most important and interesting directions in French fiction through detailed discussions of a selection of texts, all published during François Mitterrand's period as President of the Fifth Republic (1981-95)" (p. 1). This is exactly what they accomplish, selecting six novels--Duras's L'Amant (The Lover, 1984), Pennac's Au bonheur des ogres (The Scapegoat, 1985), Semprun's La Montagne blanche (1986), Echenoz's Lac (Lake, 1989), Guilbert's A l'ami qui ne m'a pas sauvé la vie (To the Friend Who Did Not Save [End Page 371] my Life, 1990), and Ernaux's Passion simple (Simple Passion, 1991)--and spending one chapter on each. They also discuss some of the important features of the era's fiction including memory, especially of World War II, contemporary culture and postmodernism, and autofiction.However, the book's limited goal also leads to some of its problems. As a whole, the work lacks cohesion. Chapters often read like individual essays. Moreover, although some chapters are well-grounded critically and contextually, others are not. Finally, the conclusion is too brief to synthesize aptly the various topics discussed in the previous chapters. The reader does not have a solid grasp of the fictional landscape of the Mitterrand years, but rather, as the introduction indicated, knowledge of "some of the [...] interesting directions in French fiction."One of the most illuminating chapters considers Daniel... (shrink)

This chapter contains sections titled: Metaphorical Pharmacology of Cannabis Cannabis Effects and Meanings Applied.

Se os romanos começaram a desenvolver tardiamente sua literatura, é porque, desde os primórdios, necessi-taram firmar-se como nação e solidificar princípios e valores que se perpetuariam em sua cultura. De início, cuida-ram da expansão e da organização da urbs e da civitas. Com a anexação de outros povos e novas culturas, tomaram conhecimento de outros valores, os quais foram submetidos ao gênio da assimilação e da universalização, sua marca inconfundível. Foram capazes de desenvolver um sistema de escrita que é seguido (...) até hoje. Sua literatura, mesmo nascendo com o carimbo da literatura grega, infunde as marcas características da cultura latina e se torna modelo pelos séculos vindouros. (shrink)

A poesia lírica mediolatina desenvolve-se a partir dos poetas latinos que a antecederam, mas elabora novas formas de expressão que acompanham, pari passu, o desenvolvimento da língua latina, com a perda gradativa o acento musical. Novo ritmo e novas formas de expressão foram introduzidos. A poesia, a princípio vista como forma especial de linguagem, ganha especial tratamento entre os goliardos, que também nos legaram o maior e mais característico acervo da lírica profana mediolatina.

Cipriano, atuante bispo de Cartago em difíceis tempos de grandes perseguições aos cristãos, compõe um texto, um discurso apologético, no qual se dirige ao pagão Dimitriano, defendendo os cristãos de acusações a eles imputadas como responsáveis pelas desgraças e dificuldades por que passava o Império Romano. Aborda a temática do fim do mundo de modo original invertendo as acusações que o poder público atribuía aos cristãos.

O ato de alimentar-se deixa de ser apenas uma satisfação de necessidades biológicas e torna-se um dos grandes prazeres da vida do homem. Apresentamos aqui as principais refeições e o modo de alimentar-se dos antigos romanos, amantes da boa mesa, e um alguns comentários sobre aquele que é o mais famoso dos seus cozinheiros e nos legou a obra De re coquinaria: Apício.

O ensino na Idade Média compreendia um conjunto de disciplinas pertencentes ao Trivium e ao Quadrivium, matérias conhecidas como artes. A estes se opunham as artes mechanicae, de cunho prático. Focalizamos, neste artigo, as questões relativas ao ensino da linguagem verbal, centrando nosso interesse na ars gramatica e na ars retórica. Um texto latino exemplificará as atividades de um famoso mestre da Idade Média.

Résumé Biographies et biographes de Savonarole constituent l’un des indices de la réception de celui-ci dans la France d’Ancien Régime. Ces biographes dominicains appartiennent au mouvement de la réforme toulousaine de l’Ordre au xvii e siècle, mouvement qui s’inspire de la réforme du couvent de Saint-Marc par Savonarole. Aussi le couvent parisien de l’Annonciation devient-il le centre de l’érudition comme de la dévotion vouées à Savonarole, et les apologistes s’attachent-ils à défendre la mémoire de Savonarole contre ceux qui le tiennent (...) pour un dangereux simulateur. (shrink)

Dans l’avant-propos de son dernier ouvrage, Anne Herschberg Pierrot définit le style comme « un processus de transformation de l’œuvre, qui peut s’ouvrir à sa genèse et s’accomplit dans ses lectures » (p. 3). C’est là une invitation à considérer le style comme un processus créatif, inscrit dans une temporalité. L’auteure propose ainsi d’adopter une perspective génétique, de s’intéresser à la genèse de la production littéraire, aux brouillons de l’œuvre pour en cerner les particularités stylis..

Dans l’avant-propos de son dernier ouvrage, Anne Herschberg Pierrot définit le style comme « un processus de transformation de l’œuvre, qui peut s’ouvrir à sa genèse et s’accomplit dans ses lectures » (p. 3). C’est là une invitation à considérer le style comme un processus créatif, inscrit dans une temporalité. L’auteure propose ainsi d’adopter une perspective génétique, de s’intéresser à la genèse de la production littéraire, aux brouillons de l’œuvre pour en cerner les particularités stylis...

"Aimée Pallière, Bergson et le Judaïsme" est un ouvrage écrit par Aimée Pallière, une écrivaine et mystique française du XXe siècle. Aimée Pallière était également la belle-sœur du philosophe Henri Bergson. Dans cet ouvrage, Aimée Pallière explore la relation entre Bergson, un important philosophe français, et sa propre compréhension du judaïsme. Elle examine comment les idées philosophiques de Bergson interagissent avec ses racines juives et comment cela influence sa pensée.