_A sustained philosophical engagement with significant and creative French interpreters of Heidegger._.

"French Interpretations of Heidegger undertakes a philosophical engagement with the work of the most significant and creative figures involved in the reception ...

In exploring the nature of excess relative to a phenomenology of the limit, Testing the Limit claims that phenomenology itself is an exploration of excess. What does it mean that "the self" is "given"? Should we see it as originary; or rather, in what way is the self engendered from textual practices that transgress—or hover around and therefore within—the threshold of phenomenologial discourse? This is the first book to include Michel Henry in a triangulation with Derrida and Levinas and the (...) first to critique Levinas on the basis of his interpolation of philosophy and religion. Sebbah claims that the textual origins of phenomenology determine, in their temporal rhythms, the nature of the subjectivation on which they focus. He situates these considerations within the broader picture of the state of contemporary French phenomenology (chiefly the legacy of Merleau-Ponty), in order to show that these three thinkers share a certain "family resemblance," the identification of which reveals something about the traces of other phenomenological families. It is by testing the limit within the context of traditional phenomenological concerns about the appearance of subjectivity and ipseity that Derrida, Henry, and Levinas radically reconsider phenomenology and that French phenomenology assumes its present form. (shrink)

In exploring the nature of excess relative to a phenomenology of the limit, Testing the Limit claims that phenomenology itself is an exploration of excess. What does it mean that "the self" is "given"? Should we see it as originary; or rather, in what way is the self engendered from textual practices that transgress—or hover around and therefore within—the threshold of phenomenologial discourse? This is the first book to include Michel Henry in a triangulation with Derrida and Levinas and the (...) first to critique Levinas on the basis of his interpolation of philosophy and religion. Sebbah claims that the textual origins of phenomenology determine, in their temporal rhythms, the nature of the subjectivation on which they focus. He situates these considerations within the broader picture of the state of contemporary French phenomenology (chiefly the legacy of Merleau-Ponty), in order to show that these three thinkers share a certain "family resemblance," the identification of which reveals something about the traces of other phenomenological families. It is by testing the limit within the context of traditional phenomenological concerns about the appearance of subjectivity and ipseity that Derrida, Henry, and Levinas radically reconsider phenomenology and that French phenomenology assumes its present form. (shrink)

Despite the propensity of species introductions to disrupt ecosystems through community disassembly, the use of species translocations is becoming more widely accepted. In this paper, we examine ethical investigations into human migration in an attempt to evaluate how translocation may be justified. Previous attempts to make the analogy between human and species migration have been prone to black and white thinking. We argue that the disagreement between nativist and cosmopolitan approaches to introduced species can be defused by extending the analogy (...) through the migration ethics literature. Additionally, by extending the discussion to the special status of refugees, we are able to develop a theoretical framework for species migrations that acknowledges the risk of species introduction while recognising that special obligations towards endangered species may necessitate the use of translocations. (shrink)

This current volume by a successful consultant to leading organizations and institutions combines two of his recent papers.

Ce livre trouve sinon son origine, du moins son impulsion, dans une rencontre avec des textes : ceux d'Emmanuel Levinas, de Michel Henry et de Jacques Derrida. Ces textes ne confrontent-ils pas leur lecteur à une pratique excessive de la méthode phénoménologique? N'a-t-on pas affaire à une phénoménologie pour ainsi dure victime d'un emballement parce que son souci de l'originaire la mènerait inéluctablement à se porter vers ce qui excède le champ de l'apparaître? Une phénoménologie caractérisée par une surenchère à (...) l'originaire? S'intéresser à la pratique de l'excès, c'est s'intéresser à la pratique de la limite, la limite dans la transgression de laquelle l'excès est ce qu'il est. En l'occurrence, lorsqu'il s'agit de phénoménologie, cette limite est celle du domaine de ce qui apparaît n tant qu'il apparaît, de ce qui se donne. Aussi le questionnement informe-t-il l'ensemble de la lecture ici proposée : que peut-on attendre, en phénoménologie, de la pratique de l'excès? Peut-on convertir cette violence en fécondité? Qu'en est-il, en général, d'un bon usage de la limite et de l'excès en phénoménologie? Questionnement qui ne se laissera jamais séparer d'une autre interrogation : e, l'épreuve de la limite, n'est-ce pas toujours une subjectivité qui s'éprouve? (shrink)

Through a wide-ranging international collection of papers, this volume provides theoretical and historical insights into the development and application of phenomenological sociology and ethnomethodology and offers detailed examples of research into social phenomena from these standpoints. All the articles in this volume join together to testify to the enormous efficacy and potential of both phenomenological sociology and ethnomethodology.

Can we ever truly answer the question, “Who am I?” Moderated by Alex Voorhoeve (London School of Economics), neuro-philosopher Elie During (University of Paris, Ouest Nanterre), cognitive scientist David Jopling (York University, Canada), social psychologist Timothy Wilson (University of Virginia),and ethicist Frances Kamm (Harvard University) examine the difficulty of achieving genuine self-knowledge and how the pursuit of self-knowledge plays a role in shaping the self.

Despite the importance of effective observational analysis in the technical aspects of climbing performance, limited research informs this aspect of climbing coach education. Thus, the purpose of the present research was to explore cognitive-perceptual mechanisms underpinning visual search strategies of expert and novice climbing coaches through the novel combination of eye-tracking technology and retrospective think-aloud methodology. Analysis of gaze data revealed expert climbing coaches to demonstrate fewer fixations of greater duration, and fixate on distinctly different areas of the visual display, (...) than their novice counterparts. Retrospective think-aloud interviews further demonstrated differences in the cognitive-perceptual mechanisms underpinning these visual search strategies, with expert coaches more cognisant of their visual search strategy. To expand, the gaze behaviour of expert climbing coaches was underpinned by hierarchical and complex knowledge structures relating to principles of climbing movement. This enabled expert coaches to actively focus on the most relevant aspects of a climber’s performance for analysis. Findings demonstrate the utility of combining eye tracking and retrospective think-aloud interviewing as a new, efficient methodology of capturing the cognitive-perceptual processes of climbing coaches to inform coaching education/strategies. (shrink)

At the beginning of 2020, COVID-19 became a global problem. Despite all the efforts to emphasize the relevance of preventive measures, not everyone adhered to them. Thus, learning more about the characteristics determining attitudinal and behavioral responses to the pandemic is crucial to improving future interventions. In this study, we applied machine learning on the multi-national data collected by the International Collaboration on the Social and Moral Psychology of COVID-19 (N = 51,404) to test the predictive efficacy of constructs from (...) social, moral, cognitive, and personality psychology, as well as socio-demographic factors, in the attitudinal and behavioral responses to the pandemic. The results point to several valuable insights. Internalized moral identity provided the most consistent predictive contribution—individuals perceiving moral traits as central to their self-concept reported higher adherence to preventive measures. Similar was found for morality as cooperation, symbolized moral identity, self-control, open-mindedness, collective narcissism, while the inverse relationship was evident for the endorsement of conspiracy theories. However, we also found a non-negligible variability in the explained variance and predictive contributions with respect to macro-level factors such as the pandemic stage or cultural region. Overall, the results underscore the importance of morality-related and contextual factors in understanding adherence to public health recommendations during the pandemic. (shrink)

The appearance of the following pages might suggest an "intellectual biography". My purpose is not, though, to offer such a simple thing . Indeed, I would like to follow the evolution of Gauthier's thought not only to show how a thinker evolved from a particular view about a particular problem toward a quite original and suggestive formulation, but also to deepen our comprehension of moral contractarianism and its implications, by means of its contextualization. For this reason, I will focus not (...) on Gauthier's philosophical production as a whole , but on the papers and works that mark the line toward moral contractarianism as it is found in Morals by Agreement . The trajectory we are about to go over is not, therefore, only a personal adventure , but the adventure of ideas. This will not be an easy journey. Our focus on the historical development of concepts will prevent us from giving a fully systematic account of every one of them. The unfamiliar reader may be disappointed as we use somewhat strange terms without completely explaining their meaning. We beg acquiescence with our method, hoping that, on the whole, the essential ideas will be understandable without a detailed discussion. (shrink)

Des la parution du Traite de la nature humaine, Hume avait ete accuse d'entretenir des paradoxes sceptiques. A cette accusation, l'Enquete sur l'entendement humain repond d'une triple facon: 1) sur le mode discret d'une incontestable autocensure; 2) sur le mode positif d'une science sceptique et positive de la nature humaine; 3) enfin, par la definition d'une regle de bonne conduite: le scepticisme-mitige.

Dominique Janicaud claimed that every French intellectual movement—from existentialism to psychoanalysis—was influenced by Martin Heidegger. This translation of Janicaud’s landmark work, Heidegger en France, details Heidegger’s reception in philosophy and other humanistic and social science disciplines. Interviews with key French thinkers such as Françoise Dastur, Jacques Derrida, Éliane Escoubas, Jean Greisch, Philippe Lacoue-Labarthe, Jean-Luc Marion, and Jean-Luc Nancy are included and provide further reflection on Heidegger’s relationship to French philosophy. An intellectual undertaking of authoritative scope, this work furnishes a thorough (...) history of the French reception of Heidegger’s thought. (shrink)

The rise, in the 1980s, of what is now labelled appropriation-photography can be understood as the full absorption of the logic of the ready-made into photographic art. Like its Duchampian predecessor, the deployment of the ready-made was used to question the nature of institutionalized art-photography: was art inherent to the photo's medium; was it an auratic attribute of the author; conferred by the institution; or ratified by its consumption? It also enabled a critique of the politics of representation at stake (...) in photographic practice outside of the immediate institutions of art. However, the correlation of appropriation-photography and a politics of representation relies upon the reduced logic of the subversive effect of a re-presented image. David Levinthal's photographs of mass-produced toys extends the reduced logic of the ready-made cultural artefact through their playful configuration, as well as through the more complex forms of photographic technique this allows. This enables a distinctive critical re-presentation of cultural myth. However, Levinthal also introduces a number of photographic techniques, which would seem to renege on the avant-garde claims of appropriation-photography, such as the reintroduction of pictorial composition and the use of large-scale Polaroids that emphatically reassert the unique and the expertly crafted image. This article examines this ambiguity in Levinthal's work, particularly with respect to its presentation of myth, and diagnoses it as symptomatic of the conditions of recent art-photography. (shrink)

A scholarly edition of a work by David Hume. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

In his private life, as well as in his work and political attitudes, Michel Foucault often stood in contradiction to himself, especially when his expansive ideas collided with the institutions in which he worked. In Francois Caillat's provocative collection of essays and interviews based on his French documentary of the same name, leading contemporary critics and philosophers reframe Foucault's legacy in an effort to build new ways of thinking about his struggle against society's mechanisms of domination, demonstrating how conflict within (...) the self lies at the heart of Foucault's life and work. (shrink)

If the greatness of a philosophical work can be measured by the volume and vehemence of the public response, there is little question that Rousseau's Social Contract stands out as a masterpiece. Within a week of its publication in 1762 it was banished from France. Soon thereafter, Rousseau fled to Geneva, where he saw the book burned in public. At the same time, many of his contemporaries, such as Kant, considered Rousseau to be 'the Newton of the moral world', as (...) he was the first philosopher to draw attention to the basic dignity of human nature. The Social Contract has never ceased to be read and debated in the 250 years since its publication. Rousseau's Social Contract: An Introduction offers a thorough and systematic tour of this notoriously paradoxical and challenging text. David Lay Williams offers readers a chapter-by-chapter reading of the Social Contract, squarely confronting these interpretive obstacles. The book also features a special extended appendix dedicated to outlining Rousseau's famous conception of the general will, which has been the object of controversy since the Social Contract's publication in 1762. (shrink)

This book offers a comprehensive description of how writers, in particular poets in nineteenth-century France, became increasingly aware of the visual element in writing from the point of view both of content and of the formal organisation of the words in the text. This interest encouraged writers such as Baudelaire, Mallarme and Rimbaud to recreate in language some of the vivid, sensual impact of the graphic or painterly image. This was to be achieved by organising texts according to aesthetic criteria (...) so that as far as possible the form of the text as visually perceived would be closely interrelated to its content as reconstructed through the reading process. The result of this development was a radical redefinition of the scope and function of poetry, raising important general questions about the nature of the relationship between language and the visual image that are still very much of concern today. (shrink)

In this article, we carry out a Multimodal Critical Discourse Analysis of a sample from a larger corpus of Romanian news articles that covered the controversial camp evictions and repatriation of Romanian Roma migrants from France that began in 2010 and continue to the time of writing in 2017. These French government policies have been highly criticized both within France and by international political and aid organizations. However, the analysis shows how these brutal, anti-humanitarian events became recontextualized in the Romanian (...) Press to represent the French government’s actions as peaceful and consensual. In addition, the demonization of the Roma in the press serves as a strategy to continuously disassociate them from their Romanian counterparts. While there is a long history of discrimination against the Roma in Romania, these particular recontextualizations can be understood in the context of the Romanian government’s need to gloss over its failure to comply with the Schengen accession requirements and acquire full European Union membership. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and (...) was preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

The group of mathematicians known as Bourbaki persuasively proclaimed the isolation of its field of research – pure mathematics – from society and science. It may therefore seem paradoxical that links with larger French cultural movements, especially structuralism and potential literature, are easy to establish. Rather than arguing that the latter were a consequence of the former, which they were not, I show that all of these cultural movements, including the Bourbakist endeavor, emerged together, each strengthening the public appeal of (...) the others through constant, albeit often superficial, interaction. This codependency is partly responsible for their success and moreover accounts for their simultaneous fall from favor, which, however, can clearly be seen as also stemming from different internal problems. To understand this dynamics, I argue that Bourbaki’s role can best be captured by using the notion of cultural connector, which I introduce here. (shrink)