L'A. souligne la portée philosophique des écrits de Paul Claudel en rappelant que cette philosophie est avant tout religieuse, qu'elle est théologie. Retraçant les événements religieux marquants de sa vie, il en examine le reflet dans son oeuvre où se mêlent divers thèmes philosophiques.
The French sculptor Camille Claudel at about the age of 40 developed a psychotic illness that proved to be chronic. Delusions of persecution, focused on her former mentor and lover Auguste Rodin, gradually became systematised until they dominated her life completely. She abandoned artistic work, withdrew into social isolation and lived alone in conditions of squalor and severe self-neglect until eventually, after her father’s death, she was committed to an asylum and spent the remainder of her life in institutional (...) confinement. Only within the past 20 years has her achievement been recognised and her fate drawn wide sympathy. Previous psychiatric studies have dismissed or downplayed the significance of Camille’s adverse life experiences for her case history. The present reassessment, drawing on modern interactionist models of the genesis and course of psychosis, sets out to place both her creative drive and her mental instability within a broader life-course perspective and to arrive at a more balanced judgement of the case. (shrink)
What is at stake in this counterintuitive reappraisal of such different authors as Claudel, Valéry and Nietzsche is not a poietics of artistic techniques and processes but their style of sensorial and sensitive subjectivation as such. The aim is not a comparative philosophy of art but a genealogy of aesthetic experience. The three authors here considered differ widely in terms of their worldviews and cultural backgrounds. However, they share a similar radical critical view of the Modern and its idols—the (...) cartesian subject, historical progress, the economy of time and memory, the originality of the artist, artistic exceptionalism, etc—as well as a meticulous philological attention paid to the dynamics of how the subject becomes and says itself through a confrontation with the figures of otherness that precede it and haunt it. (shrink)