Periodically, we take stock of SubStance and provide a brief statement regarding initiatives and priorities in the journal's interests. Three years ago, we announced that "Exploring hybrid writing with theoretical impact is at the center of our current preoccupations."1 Since that time, the journal has made significant changes. This issue marks our fourth issue of publishing with Johns Hopkins University Press in a transition that recognizes our new publisher as a leader among university presses.Our plan also expressed our intent to (...) move toward publishing digital work that exemplifies theoretical thinking in nonlinear, experimental forms. In 2018, we launched Digital SubStance, a platform for "hybrid work that... (shrink)

This issue of SubStance is the first since 2010 not dedicated to a specific theme or author; it features ten eclectic essays submitted from different disciplines and countries by well-established as well as emerging scholars. We wish to take this opportunity to emphasize the importance of these varia, which illustrate the range of our speculative and critical interests, and to signal directions we anticipate the journal moving in the near future. Beyond its interest in French literature and theory, SubStance has (...) always promoted a dialogue between contemporary theory and a multifaceted outside, an outside where contemporary theory may be used to investigate literary, philosophical, and artistic traditions.. (shrink)

I do not propose to compare the esthetics of Kant and Wittgenstein or to show the sometimes very Kantian basis of some of Wittgenstein's reflections. I do not intend to take up the history of philosophy here (I will not, therefore, attempt to expound upon the relationship in Kant of the esthetic to the teleological or the moral, for example, or the relationship of art to ordinary language in Wittgenstein). That would not be without interest; quite the contrary, but I (...) would prefer to compare the remarks of the one to those of the other in order to respond to a specific question: why is it said that there can be no rules for art, or more precisely, that the only rule is that there must be no rules? What authorizes art to play with the rules? (shrink)

How is it possible for sounds to be sound? The evanescence of sounds seems to provide us with no more than a fragile foundation, even if echo and resonance offer fleeting extensions of sonic moments. Historians of the senses have told us that despite the importance of audition and orality in antiquity and the Middle Ages, modernity has privileged vision, and this predilection has accompanied and buttressed modern attempts in science and philosophy to provide a firm foundation for knowledge. The (...) development of sound studies in the last two or three decades has subtly—and progressively more explicitly—begun to propose a shift in how a foundation, a ground, could be conceived. What is the nature of this shift?We need... (shrink)

A. Whisper; utter softly; speak privately; [fig.] confide; make known Breathe in Ear more modern God's old fashioned vows B. Inhale and exhale; process air through the lungs; [fig.] live; subsist And now, by Life deprived, In my own Grave I breathe C. Exist; show life force; [fig.] purr; yowl; make vibrant animal sounds With thee in the Tamarind wood -- Leopard breathes -- at last! D. Absorb; assimilate; internalize; infuse; gather. And now, removed from Air -- I simulate the (...) Breath, so well -- E. Gasp; draw in air; respond with admiration 'Tis Costly -- So are purples! 'Tis just the price of Breath -- F. Flutter; flicker; waver; hover; palpitate; [fig.] betray; vacillate; be unfaithful: An hour behind... Read More. (shrink)

La pensée politique de Pascal, loin d'être négligeable ou purement réactionnaire, constitue une clef de voûte de la réflexion pascalienne et une vision cruciale de révolution des idées politiques puisqu 'elle s'inscrit en faux contre les théories du contrat social. Les deux concepts de haine et de respect permettent de saisir comment la force immédiate transite dans la médiation des signes du respect et comment la haine fondatrice devient aussi moteur du social.Far from being obsolete or purely reactionary, Pascals politiccd (...) thought constitutes the keystone of his thinking and a crucial moment in the history of political ideas since it fuels an opposition to the theories of social contract. Concepts of hate and respect show how the immediacy of force is deviated by and into the mediation of signs of respect, and how foundational hate (the necessary tyranny of oneself operates as social energy. (shrink)

Intermediality has become a fashionable concept: it appears whenever we speak about what we once referred to easily as the medium or media, of systems and apparatuses, mises en scène and structures. It is used frequently in a number of different traditions, whether European, American or Australian. In some cases it holds the potential to redefine the purpose of an art or a specific medium. Consider the example that cinema provides: “its medium-specific possibility seems to have been well and truly (...) overrun by its tendency to intermediality, its fundamental impurity. That is where its true materiality-effect, today, is situated: in the palpable aura of a mise en scène that is always less than itself and more than.. (shrink)

"Men living under the domination of catchwords live in a hell of their own making."The modern university, inspired by the German model envisioned by Wilhelm von Humboldt, is often considered an "ivory tower," since it seems to position itself outside of political and economic influences. By refusing any external impact on its freedom to organize research and teaching, it has the tendency to cut itself off from the rest of society. But it is this very freedom that nurtures the civic (...) model of social apprenticeship. Outside of immediate political or religious interests, outside of economic investments in the formation solely of elites, is the necessary Bildung: edification by the knowledge of individuals who can .. (shrink)

In memoriam Bill ReadingsIt is generally agreed that the modern university originated in early 19th-century Prussia, under the inspiration of Wilhelm von Humboldt. Thus it was stamped with the seal of idealism and of German Romanticism. Today the entrepreneurial model that seems to be imposing itself on universities around the globe confounds this former ideal, particularly by requiring academia to report on its economically quantifiable "impact." But an impact on what, exactly? On knowledge in general? On society at large? On (...) industry? Is it a question of developing the critical acumen of each person in a democratic universe in which the citizen must be formed as well as informed? Or is it a question of favoring .. (shrink)

Theoria, aisthesis, mimesis and doxa are terms that sometimes are opposed, and sometimes their particular relationships are denied. However, the system of the paradox that often animates esthetic theories and conceptions of mimesis have only the pathetic enjoyment of reclaimed and affirmed unsolvable questions. Therefore it would be well to grasp the historical configuration that ordered the play of these concepts and their evolution up until our contemporary poetics.