Qu'un interet renouvele se manifeste aujourd'hui pour la versant epistemologique de l'oeuvre de Gaston Bachelard peut se comprendre au regard de l'histoire contemporaine de la philosophie des sciences. Cette histoire a ete dominee durant la plus grande partie du XXe siecle par une doctrine - celle de l'empirisme (ou positivisme) logique - promue a Vienne a la fin des annees 1920 par une institution originale, le Cercle de Vienne qui publie son manifeste en 1929, et s'organise comme un mouvement (...) a visee universelle et progressiste - celui de la conception scientifique du monde. La tradition francaise de la philosophie des sciences a pris d'entree de jeu un tout autre chemin. Si elle ne les a pas ignorees, elle a refuse de souscrire aux theses majeures du positivisme logique lorsqu'il s'est presente a elle. Elle a toujours lie etroitement philosophie et histoire des sciences. Dans le titre de ce petit livre ecrit durant l'annee universitaire 1967-1968 sous la direction de Georges Canquilhem, Dominique Lecourt a avance l'expression d'epistemologie historique pour signaler, a propos de Gaston Bachelard, cette particularite. (shrink)

pt. 1. Gaston Bachelard's historical epistemology.--pt. 2. For a critique of epistemology.

Dominique Lecourt argues that a counter-revolution in French intellectual life has seen the period of the master thinkers of the 1960s succeeded by an era of ...

Prompted by Derrida's work on the animal-fable in eighteenth-century debates about political power, this article examines the role played by the fiction of the animal in thinking of pity as either a natural virtue (in Rousseau's Second Discourse) or as a natural passion (in Mandeville's The Fable of the Bees). The war of fables between Rousseau and Mandeville – and their hostile reception by Samuel Johnson and Adam Smith – reinforce that the animal-fable illustrates not so much the proper of (...) man as the possibilities and limitations of a moral philosophy that is unable to address the political realities of the state. (shrink)

It appears that a long, monotonous and patriarchal tradition in the history of philosophy has insisted on the absence of the family. Prompted by Derrida’s Glas, this article suggests that any ethic...

In June 2020, a new work by Derrida on Condillac was published, Le Calcul des langues. This article re-examines Derrida’s readings of Condillac, focusing on the relation between perception and the language of signs; the relation between human knowledge and the animal; and the idealization and limits of empiricism.

After 1967, for some twenty years it appears that Derrida has little to say about Husserl. In the late 1980s he returns to Husserl and reiterates his early critiques of the limitations of phenomenology in relation to European humanism. However, in the 1990s there is more than just a return to Husserl, there is also a re-evaluation, prompted by the publication of Derrida's 1953–1954 thesis on phenomenology. This article focuses on Derrida essay from 2000, ‘Et Cetera … (and so on, (...) und so weiter, and so forth, et ainsi de suite, und so überall, etc.)’, which is both the development of a footnote from 1961 and a reminder to his readers to not forget the importance of phenomenology in the history of deconstruction. Focusing on the idealised status of the ‘etc.’ in phenomenology and Husserl's remarkable account of the syncategorematic ‘and’, Derrida's essay suggests that we must think of both ‘deconstruction … and phenomenology’ and of the tradition and legacy of phenomenology as a limit for deconstruction. (shrink)

Derrida frequently comments on the need to read and reread the texts of the tradition, to be always starting again with them. In On Touching – Jean-Luc Nancy Derrida offers another reading of (he starts again with) Aristotles's De Anima. By paying attention to the play of the palintropic, diaphanous, exactitude and ‘penser’ in Derrida's text, this paper seeks to show how important Aristotle is for Derrida in this book and in any deconstruction of the sense of touch. *.

The Expeditions: An Early Biography of Muḥammad by Maʿmar Ibn Rāshid according to the Recension of ʿAbd al-Razzāq al-Ṣanʿānī. Edited and translated by Sean W. Anthony. Library of Arabic Literature. New York: New York University Press, 2014. Pp. xlv + 372. $35.

Reading and Writing in Babylon. By Dominique Charpin. Translated by Jane Marie Todd. Cambridge, Mass.: Harvard University Press, 2010. Pp. xv + 315, illus. $29.95.

Outside France the epistemology of G. Bachelard is unknown ; in France his influence is considerable, especially on philosophers like L. Althusser, M. Foucault, G. Canguilhem, J. Hyppolite, M. Serres, G. G. Granger, D. Lecourt and many others. Bachelard occupies a strategic point on the crossroads of all theoretical debates concerning science. The fact that he seems to give satisfactory answers on the problems which have risen after the breakdown of the logical-positivistic philosophy of science, justifies an exposition and (...) evaluation of his original contribution to philosophy. The author distinguishes the following items. 1. The determination of Bachelards philosophy as a scientific philosophy which is wedded to a history of the sciences, especially the natural sciences. 2. The 'systematicity' as the criterium of science against other, traditional, criteria like empiricalness, logical deducibility, correspondence with reality and so on. 3. The rectification-principle : the formation of a scientific system cannot be conceived otherwise than as the restructuring or reorganisation of the ruling system or system-sets. 4. The transformation of scientific knowledge shows many discontinuities in all its phases and branches. Bachelard calls them ruptures. 5. The translation of a theory into another, more coherent and comprehensive one, is baptised as a 'dialectisation' of the concept. By a dialectisation a system is both generalised and specified. Formal logic, which is based on identity and the principle of the excluded middle, is not able to interprete this dynamic aspect of scientific thinking. 6. Central in Bachelards philosophy is also the concept of recurrence. Each new organisation of the scientific system (global or partial) sheds new light on their history and their logical foundations. History has to be rewritten after each progress. Recurrence, however, also has systematic implications. Science always desimplifies its own evidences. 7. The scientist has to demolish the obstacles which he made himself by surcharging the content of the concepts not in use and by not assimilating them in the system. 8. Bachelards philosophy of science is both idealistic and realistic ; the phenomenology becomes phenomenotechnique under the hands and in the brains of the scientist. 9. He always denies (negativity) the earlier theories and objects by incorporating them in new relationships. 10. This constructive aspect of theory formation is the same in natural science and mathematics. Bachelard opposes the logical-positivistic idea that these are methodically dissimilar. In a critical commentary the author discusses the question of 'dialectical logic' in the sciences, in relation to some recent research in this field by I. Lakatos en Errol E. Harris. In his opinion the epistemology of Bachelard affords a creative renewal of the understanding of science, although further research is needed in many aspects. (shrink)

Achieving the global benefits of artificial intelligence (AI) will require international cooperation on many areas of governance and ethical standards, while allowing for diverse cultural perspectives and priorities. There are many barriers to achieving this at present, including mistrust between cultures, and more practical challenges of coordinating across different locations. This paper focuses particularly on barriers to cooperation between Europe and North America on the one hand and East Asia on the other, as regions which currently have an outsized impact (...) on the development of AI ethics and governance. We suggest that there is reason to be optimistic about achieving greater cross-cultural cooperation on AI ethics and governance. We argue that misunderstandings between cultures and regions play a more important role in undermining cross-cultural trust, relative to fundamental disagreements, than is often supposed. Even where fundamental differences exist, these may not necessarily prevent productive cross-cultural cooperation, for two reasons: (1) cooperation does not require achieving agreement on principles and standards for all areas of AI; and (2) it is sometimes possible to reach agreement on practical issues despite disagreement on more abstract values or principles. We believe that academia has a key role to play in promoting cross-cultural cooperation on AI ethics and governance, by building greater mutual understanding, and clarifying where different forms of agreement will be both necessary and possible. We make a number of recommendations for practical steps and initiatives, including translation and multilingual publication of key documents, researcher exchange programmes, and development of research agendas on cross-cultural topics. (shrink)

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)

Recipes from the Garden of Contentment. By Yuan Mei, translated and annotated by Sean J. S. Chen. Great Barrington, MA: Berkshire, 2019. Pp. xxxiii + 428. $125.

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Preface: Variations of Archiving the Anarchive Through Editorial Witnessing by April Vannini “a diagram is a map, or rather several superimposed maps.” 1 What do we do with essays, art, artefacts, and practices that go against, resist, challenge and reject archival capture or documentation since they do not fit within the screen or manage to move beyond conventional scales? What do we do with an essay or artefact that is the event of the event becoming-event itself, or how do we move from volumetric space to two-dimensional space? How do editors, curators, participants, etc. become witness to an anarchive? And most importantly, what are the potential and unanticipated ways in which a volumetric submission can be diagrammed within a two- dimensional space? In short, how do we archive the anarchive? These are questions that have emerged and have been consciously and purposely activated by Sean Smith’s thinkpiece for this issue, The Garage (Take One) . Sean, as part of his contribution to the special issue of drift within the thread in between space and place , created an artefact that emerged out of an event held during May 2013, titled Cottage University: Topology and Immanence . The visual documentation of The Garage (Take One) is not an archive but an anarchive due to its multimodal form, non-representational diagramming, and its reactivation of non-representational folding which animates its non-representational or more-than -representational condition. In short, The Garage (Take One) stymies attempts to be translated into digital text, representationally. As a reader of Sean’s submission you will only have access to a portion of the original submitted contribution (see “Take One”). At this time, I remain the only witness of The Garage (Take One) in its entirety: I was present at the original event, Cottage University: Topology and Immanence , and I was the sole receiver of the original package because of my role as editor for the thread, in between space and place . However, I would like to stress that I was unaware of what Sean would submit as his contribution to the special issue. What is presented here is an emergent rippling of the event that was not predetermined or arranged in advance ... a drifting of sorts! As for now, the artefact sits here on my desk next to a pile of books—folded, creased and somewhat lost in its translation into digital form. Questions of transcribing, translating and converting volumetric space to two-dimensional space have been considered throughout this process. And more importantly this artefact and its processes raise the issue of not what has been saved and included but what has been left out in each conversion of the original into the academic publication. What follows this preface are various “cuts” or “takes” from The Garage: Take One . Each take or cut is merely an interpretive and representational rendering of the original volumetric submission. Although with that said I would like to propose they are more than just representations or interpretations: each take or cut works as rippling variations of the event itself . It is important to acknowledge that much has been lost in the creases and much still lingers which will never be archived within an academic journal. Hence, a discussion of how to archive the anarchive is so crucial to para-academic “scholarship”. I will sum up the process that has emerged from The Garage (Take One) with a final word from Brian Massumi, written in his foreword to Deleuze and Guattari’s A Thousand Plateaus : Each 'plateau' is an orchestration of crashing bricks extracted from a variety of disciplinary edifices. They carry traces of their former emplacement, which give them a spin defining the arc of their vector. The vectors are meant to converge at a volatile juncture, but one that is sustained, as an open equilibrium of moving parts each with its own trajectory. The word 'plateau' comes from an essay by Gregory Bateson on Balinese culture, in which he found a libidinal economy quite different from the West's orgasmic orientation. In Deleuze and Guattari, a plateau is reached when circumstances combine to bring an activity to a pitch of intensity that is not automatically dissipated in a climax. The heightening of energies is sustained long enough to leave a kind of afterimage of its dynamism that can be reactivated or injected into other activities, creating a fabric of intensive states between which any number of connecting routes could exist. 2 The Garage (Take One) Double Take 2:31pm/5:31pm Sean Smith You there? I just wanted to emphasize a couple of things about the process of the submission: 2:31pm/5:31pm April Warn-Vannini Yes, listening. 2:36pm/5:36pm Sean Smith 1.When you describe feeding forward from the CU (Cottage University) event, it is a WALKING ACTIVITY that reinvests/reactivates the intensive energies of the event. that is what my photos are in Take One......it connects the intensive state of CU to my "one-take" writing on construction paper experience. i'm not sure if i adequately conveyed that or not, or if you did, or how important that is. 2. In doing so, it ruptures open the "space" and "place" of material practice ...and how these may enter into the mediated production of academic journal work...and its flattened two-dimensional experience. 3. the abstract machines of CU (i.e.coming out of silence) are invested with a new diagramming practice (the photo walk) to produce a new text that is neither-nor: "spaced" as a content of that walk (garages), but "placed" as a technical question (coming out of silence to language). 4. the new text is precisely diagrammatic, non-representational, anarchival. ....multimodal. ok, that's all that comes to mind right now. appreciating your efforts. 5. oh, finally, i think you might need a better definition of "anarchive" here..... it was hard to pin them down in montreal on what this is, so you wouldn't be wrong, per se, but more require a working definition for the reader. obviously, as you say, without getting too academic/citations, etc. know what i am saying? 2:46pm/5:46pm April Warn-Vannini 1. Totally got it but I think I did because of our many past conversations about how to archive the event 2. Yes this is what I love about this. And I think you speak to this very carefully in your writing on the Garage. Now whether others pick up on this I don't know. This is why I wanted to see what it would look like if I flattened it (take 3). 5. I agree that a better definition is needed. This is where I've been stumbling because I have not found anything that clearly defines what is meant by anarchive. 2:47pm/5:47pm Sean Smith "with take one being the only remainder of the original submission left to reveal...." precisely because of its digitality!!! yeah, i would probably just append an edited version of what we are saying here, as if the editing process was still a ripple of the event. me "adding" new text later i think defeats the purpose, but if you were to take snippets of this dialogue as part of the anarachive/ 2:48pm/5:48pm April Warn-Vannini Totally! 2:49pm/5:49pm Sean Smith and just *use them*, i think that's fair game. that way i won't be crafting my words with intent. you can even use this profile pic. 2:50pm/5:50pm April Warn-Vannini Okay perfect. With that said, do you think I should just discuss your process further in the preface or include an introduction that would be in take one? 2:51pm/5:51pm Sean Smith could it be Take Two in its own right, like an atemporal ripple that coexists with the others and bumps them to Three, Four and Five? Or could it be called "Double Take" and leave the others as Two, Three, Four? 2:53pm/5:53pm April Warn-Vannini Perfect. I like double take 2:53pm/5:53pm Sean Smith and it's us hashing through this discussion 2:53pm/5:53pm April Warn-Vannini Double take will follow take one. i like this. The Garage (Take Two) Folded, taped (scotch and duct), folded recycled chart paper previous emergent thoughts: performed, inscribed and made anew Red jiffy, black jiffy, blue ink pen cursive writing/block writing diagramming amplification dilated » » » » directional arrows « « « « Moistened, torn, crinkled Ruptures Anarchive of thought events Deciphering language/writing Exchanged as a volumetrics of new spaces Performing tactics of “writing off the page” on the page Enclosed [OPEN THE DOORS, MOVE FROM SURFACE TO VOLUME…AND THE CONVERSATION JUST MIGHT BEGIN ANEW. *stamped* SEAN SMITH] Drifting Drifting Drifting The Garage (Take Three) 6 Sean Smith video from April Vannini on Vimeo . The Garage (Take Four) The Garage (Take Five). (shrink)

In October 1984, Bruno Huisman stated with regards to Jean Cavaillès, ‘Let us be honest, or at least realistic: today, one can be a professor of philosophy without ever having read a single line of Cavaillès. Often invoked, sometimes quoted, the oeuvre of Cavaillès is little attended for itself’ (Huisman 1984). As for Albert Lautman, it would seem that the situation is even more extreme. In 1994, the publisher Hermann, under the impetus of Bruno Huisman and George Canguilhem, collected almost (...) the totality of the Jean Cavaillès papers in one volume (Oeuvres complètes de philosophie des sciences (Cavaillès 1994)). But, the Essai sur l’unité des mathématiques et divers écrits (Lautman 1977), published by the Union générale d’Éditions in 1977, had all but disappeared by the early 1980s and yet was never republished! This will remain one of the great indignities of French publishing, for as Jean Petitot rightly affirms: ‘Regarded as too speculative, in spite of his exceptional mathematical scholarship and his close connection with Hilbertian axiomatic structuralism, his mathematical philosophy has, until now, been devoid of any particular attention …. We would like to state clearly from the start, Albert Lautman represents, in our view, without exaggeration, one of the most inspired philosophers of this century’ (Petitot 1987, 79-80). (shrink)

An incisive analysis of Deleuze's philosophy of eventsSean Bowden shows how the Deleuzian event should be understood in terms of the broader metaphysical thesis that substances are ontologically secondary with respect to events. He achieves this through a reconstruction of Deleuze's relation to the history of thought from the Stoics through to Simondon, taking account of Leibniz, Lautman, structuralism and psychoanalysis along the way.This exciting new reading of Deleuze focuses firmly on his approach to events. Bowden also examines and clarifies (...) a number of Deleuze's most difficult philosophical concepts, including sense, problematic Ideas and intensive individuation, and engages with material by Lautman and Simondon that has not yet been translated into English. (shrink)

Ces textes ont été choisis et organisés par Dominique Lecourt pour donner un accès facile à une épistémologie qui a fait de la difficulté la marque distinctive d'un travail scientifique et philosophique, sans pour autant prétendre à donner un tableau systématique de l'épistémologie selon Bachelard. C'est une initiation à une histoire épistémologique des sciences.

This paper examines two letters between Cicero and Gaius Cassius Longinus in which they critically discuss and denigrate the translation of Epicurus’ term εἴδωλον as spectrum by an Epicurean named Catius. It first offers a new positive account for why Catius made his choice of translation, and it then outlines the full reasons for why Cicero and Cassius found the translation unsatisfying.

ArgumentThis paper provides an introduction to three translations of articles by Soviet philosopher Boris Hessen: “Mechanical Materialism and Modern Physics,” “On Comrade Timiryazev’s Attitude towards Contemporary Science” and “Marian Smoluchowski (On the Tenth Anniversary of His Death)”. It begins by presenting a central tension in Hessen’s work; namely, how even though he is better known for the externalism of his 1931 Newton paper, much of his work has been considered exemplary of an internalist approach. I then show that for Hessen, (...) the history of modern science was defined by the discovery of the dialectical unity in opposition between dynamic and statistical regularity. This not only sheds important light on Hessen’s understanding of causation, but also reconciles the aforementioned tension by showing his approach to the relationship between individuals and collectives in the study of physical phenomena, along with the relationship between individual scientists and socioeconomic conditions. (shrink)

In this paper, I explore a debate between some Indian Buddhist schools regarding the nature of the underlying tendencies or anusaya-s. I focus here primarily on the ninth chapter of Kathāvatthu’s representation of a dispute about whether an anusaya can be said to have intentional object. I also briefly treat of Vasubandhu’s defense of the Sautrāntika view of anuśaya in the opening section of the fifth chapter his Abhidharmakośabhāṣyam. Following Vasubandhu, I argue against the Thervādin Abhidharmikas that the underlying tendencies (...) (anusaya-s) can be identified with their active manifestations (pariyuṭṭhāna). Etymologically, the notion of anusaya denotes a kind of latency, dormancy or otherwise ‘below the surface’ propensity. It can literally be translated as ‘that which lies or dwells beneath or alongside’. I will translate the term as ‘underlying tendency’, but philosophically speaking, it is most important to understand that the notion of anusaya refers to dispositions that condition current experience in a tacit way. The task of a philosophical account of the anusaya-s is to explain how their implicit conditioning influence shapes occurrent mental activity. The Indian Buddhist philosophers exercised an enormous amount of energy in attempting to explain this relation. A thorough examination of this dialectic has two important fruits to bear. The first is that the Buddhists can help us explain in precise detail how the mind is affectively layered. That is, they have a plausible account of how the mind is both responsive in real time to the objects it encounters in the world, while at the same time being tacitly conditioned by its own history of affective bias. Indeed, as we will see, the Buddhists were deeply concerned with how processes of affective bias were operating at the deepest levels of the mind and how we ought to conceive of their influence on our ordinary processes of perception and cognition. Second, this local position within the Buddhist milieu is indicative of a wider propensity in Buddhist philosophy to blend analyses of affectively-biased intentions and causation. I submit that this blending could be helpful in a more global for contemporary discussions of the mind in philosophy and science. (shrink)

The following is excerpted from Sean Gurd’s translation of Euripides’ Hippolytus published with Uitgeverij this year. Though he was judged “most tragic” in the generation after his death, though more copies and fragments of his plays have survived than of any other tragedian, and though his Orestes became the most widely performed tragedy in Greco-Roman Antiquity, during his lifetime his success was only moderate, and to him his career may have felt more like a failure. He was regularly selected (...) to have his plays performed in the annual festival of Dionysus at Athens. But the plays were performed in a competition, and in the competitions he lost and lost, winning first place only five times in a career that spanned more than forty years. His corpus reads like the remains of a life spent trying to get a few things right and never being quite satisfied: scenes and schematized combinations of elements recur again and again, each time slightly changed. Hippolytus itself is an example: it contains two scenes in which a sick or dying character lies on a couch or a stretcher and is surrounded by silence and grief; he had experimented with such scenes in Alcestis, and would work with them again in Herakles and Orestes. Nor, judging from appearances, was he immune to the desire to score a hit, or to satisfy the audiences and the judges at the competition. Hippolytus is a rewrite of another Hippolytus, performed several years earlier, which scandalized the audience and certainly did not take first place. In that earlier Hippolytus (called by later writers Hippolytus Veiled), Euripides fashioned a Phaedra who was neither ashamed of loving her stepson nor incapable of taking steps to satisfy her desire. The forwardness of her approach to Hippolytus so outraged him that he covered his head with a robe (hence the play’s later title). Euripides liked to write energetic and self-confident women like this. He staged his Medea in 431, just three years before he revised Hippolytus, and in it the jilted title character murders her children in revenge for Jason’s new marriage to a more politically advantageous wife. Another flop: the play came in third of three. Evidently the judges did not like their women showing agency, especially when the consequences were transgressive. “The ornament of women,” wrote another great Athenian a little earlier, “is silence.”i Euripides’ Medea and his first Phaedra had other decorations. So three years after Medea crashed and burned and some time after the first Hippolytus suffered the same fate, he produced another Hippolytus play with a different setting and story. How could this one not have been a reaction to the failure of the first? “Second thoughts are always better,” he has one of his characters say, as though he were offering an apology for his first thoughts on the same story. In this new version, Phaedra is suicidally ashamed of her love, choosing to die rather than have it discovered, and willing to bring down her beloved Hippolytus in the service of the same end. Now it is Phaedra herself who covers her head in shock and horror at her desire. Only an intermediary, a slave of the house and an old crone with her fingers in all sorts of illicit pots, communicates Phaedra’s secret – against orders – and in consequence brings about the demise of two resolutely moral figures. It worked. For his tale of two well-born nobles with an unswerving commitment to moral action, destroyed by the meddling of a slave (and by the hostility of some particularly uncaring divinities), the judges crowned Euripides winner. It was the first time he had won, after almost thirty years of work. *** What Hippolytus wants more than anything else, as he protests with outrage just before leaving Trozen for the last time, is the benefit of due process – oaths, witnesses, an investigation that would reveal who really lusted after whom. Ironic, given that in the first Hippolytus, as far as we can make out, he did get a trial – but too late, and Theseus’ successful processing of Hippolytus failed to prevent his death. I cannot help hearing in the second Hippolytus’ complaints the anger of his authorial semblable who lost year after year by a process of judging that might have seemed brutal to him. Judges took no cognizance of how he worked, how long or hard or why; they just voted, and Euripides lost. But then I hear, in the fate of the first Hippolytus, an even grimmer commentary. Processed or not, we lose. We run aground. At the very least, this might cast a darker shadow on the business of watching or reading a play: in that twilight, things move too fast to make a fair assessment and, in any case, the reasonably high definition of what you see and hear belies the truth of indistinction, the multiplicities just below the surface. Watching is a constrained activity, a form of captivity, but reading is plastic. This translation was begun to supply the script for an audio version of the play, recorded in the spring of 2012, and here and there it sacrifices literalness for sayability and the voices and passions of the actors on that occasion. But it was finished to be read, and engineered to create a reading caught between the poles of specificity and non-specificity that the play itself conjures and relies on at its generative core. Thus two texts: the one clear, perhaps overprecise, respectably modern in its presentation, and the other ancient, a reasonable approximation of the classical reading process, and indistinct in vital ways. Like early modern dramatic texts, the exact provenance and original function of the scripts that have made it down to us are unknown. We do know that the ultimate survival of Hippolytus was thanks to its wide-spread use as a school text. But its relation to the first performance in 428 BCE is a matter only of speculation. Euripides presumably had a fair copy before production began; it was probably modified during rehearsals. The actors may have had copies, too (probably the young men who served in the chorus did not). The chor?gos, a wealthy Athenian who paid for the production, might have been presented with or just made sure to get his hands on a high-quality text, to commemorate the play’s success. Fans might have been able to buy copies. Any one of these sources might have provided the ultimate progenitor of our text. Several of them might have, in fact, if later editors compared and conflated traditions. The plays toured extensively in the Greek-speaking world, and were restaged as repertoire for centuries afterwards. In the process they were subjected to enough modifications by producers and actors that in the later fourth century the Athenian statesman Lycurgus had a law passed prohibiting performances at Athens from deviating from the official “city” text of the tragedies (which he had commissioned). It is unlikely that the city text was the last word; but it marks an important moment in Athens’ role in their dissemination, since after this the major sites of textual curatorship moved overseas, to Alexandria, Pergamum, Rome, Antioch, Constantinople. Any single text of any single play is thus no more than a moment of clarity and stability, crossed and subtended by multiple vectors of change, including that of textual flux (from Euripides’ first drafts to the latest printed text) and that of Euripides’ life work as a writer, in the light of which the Hippolytus is just one attempt to produce something exactly right, to win the prize or finally satisfy himself or prove to himself that all this longing for perfection was a waste of time. I am intrigued by the possibility that a single text might somehow serve as a lens onto this wider zone of indistinction, representing a small region clearly but nonetheless containing a blurred image of the whole, like a Leibnizian monad. After all, no text is a witness: it is, rather, a perception and a performance, and what every Hippolytus must perform is the awkward overlay of singular and plural, social practise and subliminal drive, that structures the tragedy. Modern critical editions can do this by juxtaposing a (relatively) clean and simple text with a textual apparatus reporting variants and theorizing the relationship between textual instantiations. A translation lacks the resolution to catch the fine variations which feed into the construction of an apparatus. But there are other means to hand. Guessing at the exact words of the original text is always just that – guessing – though Hippolytus is less problematic than plays like Iphigenia at Aulis. But we can make a pretty secure guess at what such a text looked like. Texts read by fifth-century readers were fundamentally different from what is presented in the best medieval MSS and printed in modern publications. The texts of Euripides’ time and for many centuries afterwards did not indicate word division with spaces (or by any other means) and were extremely sparing in punctuation, often avoiding it altogether. There was only one “case” of letters – what we call “capitals.” Musical sections were inscribed as though they were prose, without line endings to reflect their rhythm or their rhetorical structure. There was no indication of the speakers within a dramatic text, either. The earliest surviving dramatic texts, which come from over a century after Euripides’ death and a time which was much more elaborate and precise in its textual culture, indicated speaker-change with a little line or paragraphos below the line and a double-point [:] at its end. This convention almost certainly does not date back to Euripides’ own time; it may not even date to Lycurgus. In any case, such indications were understood to be readers’ marks: they did not have the same authority as the text and they were subject to readers’ revisions. At least ideationally, if not in concrete and distinguishable fact, a dramatic text was understood as containing no indication of speaker-change (and certainly none of who was saying what). The reader had to figure that out for him-/herself. The clear, legible, easy texts we are accustomed to reading are the fabrications of medieval and modern reading cultures. The first text, then, presents the translation as the text would have been in the mid-fourth century, perhaps decades after Euripides’ death. The second text processes Hippolytus, makes sense of it and makes it “readable.” That is: too distinct, dangerously so. It gets in your way, conjures fantoms, tries to make you see. Fragments of the Hippolytus Veiled, otherwise almost entirely lost, are juxtaposed with similar passages in the text – not to suggest a reconstruction, but a dialogue and a complex set of reassessments. I have not tried to represent the full variety of textual variants, but I have signalled where, for one reason or another, the text is soft and different editions propose excisions or changes. The two texts must be read together: you, reader, form the bridge between the distinctly seen and the indistinct invisible. You, in the end, will be its mask. *** illsandhateddiseaseswhatcanidoforyouwhatshouldinotdohereisthelightandthebrightairyoursickbedisnowout s idethehouseyoureverywordwastocomeherebutyouwillrushbacktoyourbedroomagainyoufadequicklyyoudelig htinnothingyoudislikewhatyouhaveyoulovewhatyoudontitsbettertobesickthantendthesickthefirstissimpleto the secondattachesheartspainandhandsworkeveryhumanlifeispainfulthereisnoendtotoildarknesshidesbehindclo udswhateverisdearerthanlifeweproveunhappyloversofwhatshineshereforlackofknowledgeofanotherlifethere isnoproofforthingsbeneaththeearthonlystoriessustainus liftmybodystraightenmyheadthebondsofmylimbsareloosenedtakemyhandsandmypalearmsthishatistooheavy formyheadtoweartakeitoffspreadmyhairovermyshoulders couragechilddonttossandturnsoviolentlyyouwillbearyoursicknessmoreeasilywithpeaceandanoblemindallmort alssuffer aiaiiwanttodrinkpurewaterfromadewyspringiwanttoliebackandrestunderthetreesinsomegrassymeadowchildw hycrydontsaythesethingsnearthecrowdhurlingwordsmountedonmadness sendmetothemountainiwillgototheforestwherebeastkillingdogspressthespotteddeergodsilongtoshouttothedo gstoshootthethessalianjavelinpastmyblondhairtoholdthebarbeddartinmyhandwhythisanxietychildwhatdoyouc areabouthuntingwhydoyoulustforflowingspringstheresahillwithwaterjustnexttothetowerwecangetyouadrinkt h ereartemismistressofthesaltlakeandthecoursethunderingwithhorseshoovesiwishiwereonyourplainsbreakings t uds whythrowthesefrenziedwordsaboutjustnowyouweresettingoutforthemountaintohuntandnowyoulongforhorses onthewavelesssand thesethingsneedanoracletotellwhichgodreinsyouinanddrivesyoufromyoursenseschild whathaveidonehowfarhaveibeendrivenfromgoodthoughtsiwascrazyiwascursedbysomepowerpheupheualasn ursecovermyheadagainimashamedofwhativesaidcovermeatearmovesdownfrommyeyeanditembarrassesm eithurtstostraightenourmindanditisterribletobeinsanebesttodiebeforeyoubecomelucidagain illcoveryoubutwhenwilldeathcovermeimoldivelearnedalotmortalsshoulddrinkoffriendshipmoderatelynotfrom th edeepestmarrowofthesoulamindslovecharmsshouldbeeasytoundoorthrustawayortiemoretightlyitisaverydiffic ultweightforonesoultolaborovertwopeopleasiamwrackedbypainforhertoomuchdisciplinecausesmoreharmthan pleasureandwarswithhealthipraisetoomuchlessthannothinginexcessandthewiseagreewithme *** Scene 1 Enter Phaedra and the Nurse; the former is recumbent on a couch while the latter bustles about her with gestures that might be those of a caregiver or a guard. NURSE Ills and hated diseases! What can I do for you? What should I not do? Here is the light, and the bright air; your sick bed is now outside the house. Your every word was to come here, but you will rush back to your bedroom again. You fade quickly. You delight in nothing. You dislike what you have. You love what you don’t. It’s better to be sick than tend the sick – the first is simple. To the second attaches heart’s pain and hand’s work. Every human life is painful. There is no end to toil. Darkness hides behind clouds whatever is dearer than life. We prove unhappy lovers of what shines here for lack of knowledge of another life. There is no proof for things beneath the earth. Only stories sustain us. PHAEDRA Lift my body, straighten my head: the bonds of my limbs are loosened. Take my hands and my pale arms. This hat is too heavy for my head to wear. Take it off, spread my hair over my shoulders. NURSE Courage, child; don’t toss and turn so violently. You will bear your sickness more easily with peace and a noble mind. All mortals suffer. PHAEDRA Aiai. I want to drink pure water from a dewy spring. I want to lie back and rest under the trees in some grassy meadow. NURSE Child, why cry? Don’t say these things near the crowd, hurling words mounted on madness. PHAEDRA Send me to the mountain. I will go to the forest where beast-killing dogs press the spotted deer. Gods! I long to shout to the dogs, to shoot the Thessalian javelin past my blond hair, to hold the barbed dart in my hand. NURSE Why this anxiety, child? What do you care about hunting? Why do you lust for flowing springs? There’s a hill with water just next to the tower; we can get you a drink there. PHAEDRA Artemis, mistress of the salt lake and the course thundering with horse’s hooves: I wish I were on your plains breaking studs! NURSE Why throw these frenzied words about? Just now you were setting out for the mountain to hunt – and now you long for horses on the waveless sand. These things need an oracle to tell which god reins you in and drives you from your senses, child. PHAEDRA What have I done? How far have I been driven from good thoughts? I was crazy, I was cursed by some power. Pheu pheu. Alas. Nurse, cover my head again. I’m ashamed of what I’ve said. Cover me – a tear moves down from my eye and it embarrasses me. It hurts to straighten your mind and it is terrible to be insane. Best to die before you become lucid again. NURSE I’ll cover you. But when will death cover me? I’m old; I’ve learned a lot. Mortals should drink of friendship moderately, not from the deepest marrow of the soul. A mind’s love-charms should be easy to undo, or thrust away, or tie more tightly. It is a very difficult weight for one soul to labor over two people, as I am wracked by pain for her. Too much discipline causes more harm than pleasure and wars with health. I praise “too much” less than “nothing in excess,” and the wise agree with me. ***. (shrink)

En 2008, le 150e anniversaire de la naissance de Durkheim a été l’occasion de publications assez abondantes, parfois décevantes. On passe ici en revue des ouvrages parus en 2008 ou peu avant : cinq rééditions et une traduction de textes de Durkheim, une biographie monumentale et touffue, trois recueils d’essais.In 2008, the 150th anniversary of Durkheim’s birth was the occasion for the publication of a good number of books, sometimes rather disappointing. We offer here brief reviews of works published in (...) 2008, or a little before. These include five new editions of texts by Durkheim himself, as well as one translation, a dense and monumental biography, and three collections of essays. (shrink)

The received view in the history of the philosophy of psychology is that the logical positivists—Carnap and Hempel in particular—endorsed the position commonly known as “logical” or “analytical” behaviourism, according to which the relations between psychological statements and the physical-behavioural statements intended to give their meaning are analytic and knowable a priori. This chapter argues that this is sheer legend: most, if not all, such relations were viewed by the logical positivists as synthetic and knowable only a posteriori. It then (...) traces the origins of the legend to the logical positivists’ idiosyncratic extensional or at best weakly intensional use of what are now considered crucially strongly intensional semantic notions, such as “translation,” “meaning” and their cognates, focussing on a particular instance of this latter phenomenon, arguing that a conflation of explicit definition and analyticity may be the chief source of the legend. (shrink)

This paper is about the history of a question in ancient Greek philosophy and medicine: what holds the parts of a whole together? The idea that there is a single cause responsible for cohesion is usually associated with the Stoics. They refer to it as the synectic cause (αἴτιον συνεκτικόν), a term variously translated as ‘cohesive cause,’ ‘containing cause’ or ‘sustaining cause.’ The Stoics, however, are neither the first nor the only thinkers to raise this question or to propose (...) a single answer. Many earlier thinkers offer their own candidates for what actively binds parts together, with differing implications not only for why we are wholes rather than heaps, but also why our bodies inevitably become diseased and fall apart. This paper assembles, up to the time of the Stoics, one part of the history of such a cause: what is called ‘the synechon’ (τὸ συνέχον) – that which holds things together. Starting with our earliest evidence from Anaximenes (sixth century BCE), the paper looks at different candidates and especially the models and metaphors for thinking about causes of cohesion which were proposed by different philosophers and doctors including Empedocles, early Greek doctors, Diogenes of Apollonia, Plato and Aristotle. My goal is to explore why these candidates and models were proposed and how later philosophical objections to them led to changes in how causes of cohesion were understood. (shrink)

Cet article est consacré à l'analyse du destin d'une innovation portée par la société française Cytale, conceptrice du livre électronique Cybook commercialisé en 2001 et 2002. Il s'agit d'expliquer la raison qui amène Cytale à faire une proposition de lecture sur support électronique et numérique, puis de comprendre la nature et les causes de l'échec de cette innovation. Pour ce faire, l'article se focalise sur la construction de l'objet et de ses publics, ainsi que des réseaux que tenta de constituer (...) l'entreprise. Il est fait appel aux outils de la sociologie de la traduction, pour comprendre comment l'identité d'un objet technique, le Cybook, se construit, et comment ses fonctions lui sont assignées ou refusées. La réalisation de ce livre électronique apparaît comme le fruit d'une négociation plurielle, mais la solidité et la cohérence des alliances que Cytale était parvenue à sceller autour du Cybook posèrent question.This article is devoted to the analysis of the fate of an innovation brought by the French company Cytale, designer Cybook e-book sold in 2001 and 2002. This is to explain why that leads to a proposal Cytale reading electronic and digital, and to understand the nature and causes of the failure of this innovation. To do this, the article focuses on the construction of the object and its public and networks that tried to build the business. It is called the tools of sociology of translation, to understand how the identity of a technical object, Cybook, builds, and how its functions are assigned or denied. The realization of this e-book appears to be the result of a negotiation plural, but the strength and consistency of alliances Cytale had managed to seal around the Cybook rested question. (shrink)

Paul Virilio _The Vision Machine_ Translated by Julie Rose London: British Film Institute, 1994 ISBN 0-253-32574-9 (hbk) 0-253-20901-3 pbk 81 pages.

Jacques Dalarun’s “re-discovery” of The Life of Our Blessed Father Francis by Thomas of Celano is about as exciting a find as the field of medieval history is ever likely to provide. As André Vauchez remarked in Le Monde in January 2015, “There hasn’t been a discovery of this importance in half a century.” And indeed, there may never have been a major manuscript discovery for which the new text was made available in an impeccable Latin edition so quickly, (...) class='Hi'>translated into French and published in book-form almost before the initial announcement of the discovery had sunk in, and then translated into practically all the major European languages within the next year and a half, including... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Guibert of Tournai's Letter to Lady Isabelle:An Introduction and English TranslationLarry F. Field, Jacques Dalarun, Sean L. Field, and Guibert of TournaiIntroductionGuibert, from the noble family of As-Piès, was born near Tournai around 1200. From his hometown he traveled to Paris for his art degree, and completed the curriculum in theology there before entering the Franciscan Order around 1240. He may have participated in Louis IX's crusade of (...) 1248, but, if so, was surely back in Paris by 1254 at the latest, since he preached a cycle of sermons de dominicis et de sanctis to the university community before summer 1255.1 His regency as Franciscan master of theology at Paris was probably around 1259–1261,2 about the time he [End Page 31] completed his Eruditio regum et principum for Louis IX,3 and began his most substantial work, the Erudimentum doctrinae.4 Other significant treatises include his De pace et animi tranquillitate (ca. 1275)5 written for Marie de Dampierre, and the Collectio de scandalis ecclesiae, prepared for the Second Council of Lyon.6 Guibert died in Tournai on 7 October 1284.7Sometime around 1254, Guibert wrote a long letter of spiritual advice to Isabelle (1225–70), the sister of King Louis IX.8 Isabelle was herself a remarkable figure. She had rejected several proposals of marriage, including that with Conrad, the heir to Emperor Frederick II, in 1243, in spite of pressure from her family and Pope Innocent IV. But following a bout of serious illness at about that time,9 her family accepted her [End Page 32] decision to remain unwed. There is no evidence, however, that Isabelle ever pronounced a formal vow of virginity. Through the 1250s she simply remained at the Capetian court as a virgin princess with an increasing reputation for piety and indeed holiness, praised in lavish terms by Innocent IV in 1253 and Alexander IV in 1256.10 This piety took a distinctly Franciscan turn by 1254, when Pope Innocent IV granted her request for Franciscan confessors,11 which would ultimately result in her foundation of Longchamp, a house of Sorores minores just west of Paris, by 1260.12 Guibert's letter shows no awareness of such a project, indicating that it must have been written before spring 1255, by which time the land for Longchamp was being purchased on Isabelle's behalf.13 Guibert thus wrote at the moment when Isabelle was forming her first ties to the Franciscans, but well before her move to Longchamp, where she lived out the 1260s as resident lay patron (but never a nun).Guibert's Letter is really a short treatise of spiritual and moral advice, tailored to a celibate princess. It is organized around Psalm 44:14–15, All the glory of the king's daughter is within in golden fringes, clothed around with varieties. In a five-part structure, the king's daughter stands for a heavenly inheritance; glory within represents internal purity; gold indicates virginity; the fringes are a sign of humility; and clothed around with varieties points to honest comportment. The resulting "royal garment," however, is rather unequally woven together, with section one on the "heavenly inheritance" and the intertwined sections three and four on virginity and humility receiving by far the most space. In fact, section one forms a sort of treatise-within-a-treatise, organized as a ten-step ascent to the heavenly inheritance awaiting the daughter of the king. [End Page 33]The Letter to Lady Isabelle was first edited by Alphonse de Poorter in 1931, from a manuscript which contained only part of the text.14 The full text was brought into print by Sean Field in 2003,15 and translated into French by Jacques Dalarun in 2014.16 Yet in spite of these advances, the Letter has remained little noticed by scholars. Anne-Hélène Allirot offered several perceptive pages in 2010, stressing the way Guibert's treatment of hereditas implies that female members of the royal family might be particularly able to embody Capetian claims to holiness.17 That same year, in the only recent article dedicated specifically to this Letter, Rina Lahav... (shrink)