The poetic image results from the effort undertaken by affectivity to express itself in a language that is not originally its very own, but that holds the advantage of being communicable not only at the level of representation, but at the level of feeling as well. The image is not considered, therefore, to be a synthesis of true and false. In the process of creation, the affect is the material principle of the image as an ideal unity of syntheses. It (...) is implied here that poetic writing is not about a content of internal aiming, previously possessed by consciousness, that is made to correspond with an element of the world, even­tually represented by means of sensible intuition. In order to illustrate this, the author interprets a poem by Nadia Tueni, showing that it is essentially about its own production. (shrink)

Le concept de pandémonisme apparaît dans les Recherches sur la liberté humaine de Schelling en rapport avec l’émanatisme. Que l’être soit entièrement mauvais est une thèse que le philosophe ne saurait admettre. Mais il réserve une place essentielle à la puissance qui voudrait convertir au mal la totalité, Dieu compris. Cette étude examine la notion de Dieu inversé à l’horizon du pandémonisme afin d’en tirer toutes les conséquences.

La thèse de cet ouvrage est que 1'art est une expression de la subjectivité, non seulement de la subjectivité relative, déjà psychologisée et mêlée au monde, mais tout autant et primordialement, de la subjectivité humaine absolue ...

First we try to show that Henry’s philosophy of art meets Schelling’s ambition of exposing art as an organon of a philosophy of pathetic subjectivity (against the theory of imitation or reproduction). In this regard, Balzac’s novels serve as an illustration showing art to be the model of nature and not the other way round. Then Balzac’s main novel dealing with artistic creation, the Unknown Masterpiece, is interpreted using Henry’s grid, as an anticipation of Kandinsky’s abstraction.

The metaphor of vampirism runs through Marx'''' work. I take it seriously, making its content explicit in the context of the Marxian critique of political economy, and measuring its effects through a correspondence between the Capital and Bram Stocker''''s novel. I try to show that Dracula is the novel of the "Capital", not, of course, that which Marx was thinking about, but rather that which complete explicitness in literary socio-critical terms configures the major nodes of the system.

Le mal, chez Marx, relève pour l'essentiel de la conjonction de trois catégories : l'inversion, le vampirisme et le destin.

Dans ces quelques pages nous examinons en quoi la thèse d’Anne Henry, d’une influence déterminante de Schelling sur Proust, peut être redevable à la conception que Michel Henry se fait de Schelling, notamment à travers L’Essence de la manifestation.

Parmi les grands thèmes qui régissent la Recherche du temps perdu, le mal n’est pas le moindre. Plus qu’un thème, c’est une idée directrice bien qu’elle change de valeur au cours du périple. C’est sur la perversion que le narrateur attachera sa constante attention, ce qui invite à concevoir le mal par-delà la simple détermination du sensible, entreprise pour laquelle le Traité sur la liberté de Schelling sera d’un précieux apport car il conçoit le mal comme une perversion des principes. (...) On suit ici cette ligne dans plusieurs directions en se basant sur la dialectique du bien et du mal. Une place importante est réservée à la proposition spéculative : le Bien est le Mal et à son renversement, le Mal est le Bien. (shrink)

The poetic image results from the effort undertaken by affectivity to express itself in a language that is not originally its very own, but that holds the advantage of being communicable not only at the level of representation, but at the level of feeling as well. The image is not considered, therefore, to be a synthesis of true and false. In the process of creation, the affect is the material principle of the image as an ideal unity of syntheses. It (...) is implied here that poetic writing is not about a content of internal aiming, previously possessed by consciousness, that is made to correspond with an element of the world, even­tually represented by means of sensible intuition. In order to illustrate this, the author interprets a poem by Nadia Tueni, showing that it is essentially about its own production. (shrink)