When the world reveals a part of its beauty, what should our reaction be? How can we respond adequately? Is not our initial reaction one of a “discrepancy between our impressions and their habitual expression?” It is this question that Proust poses in one of the crucial passages early on in his masterpiece. Describing his walks along Méséglise's Way, and “the humble discoveries” he made there, the narrator details for us the overwhelming, decisive impression made on him by a shaft (...) of sunlight:After an hour of rain and wind, against which I had struggled cheerfully, as I came to the edge of the Montjouvain pond, beside a little hut with a tiled roof in which M. Vinteuil's gardener kept his tools, the sun had just reappeared, and its golden rays, washed clean by the shower, glittered anew in the sky, on the trees, on the wall of the hut and the still wet tiles of the roof, on the ridge of which a hen was strutting. The wind tugged at the wild grass growing from cracks in the wall and at the hen's downy feathers, which floated out horizontally to their full extent with the unresisting submissiveness of light and lifeless things. The tiled roof cast upon the pond, translucent again in the sunlight, a dappled pink reflection which I had never observed before. And, seeing upon the water, and on the surface of the wall, a pallid smile responding to the smiling sky, I cried out aloud in my enthusiasm, brandishing my furled umbrella: “Gosh, gosh, gosh, gosh!” But at the same time I felt that I was in duty bound not to content myself with these unilluminating words, but to endeavor to see more clearly into the sources of my rapture. (shrink)

The advent of the cinema radically altered our comprehension of time, space, and reality. With his experience as a pioneering avant-garde filmmaker, Jean Epstein uses the universes created by the cinematograph to deconstruct our understanding of how time and space, reality and unreality, continuity and discontinuity, determinism and randomness function both inside and outside the cinema. Time, he says, should be regarded as the first, not the fourth, dimension—and the cinematograph allows us, for the first time, to manipulate (...) it in directions and speeds of our choosing. The theoretical work of Jean Epstein greatly influenced later generations of cinema philosophers, notably Gilles Deleuze and Jacques Rancière, but the bulk of his work remains unpublished. _The Intelligence of a Machine_, his first major title published in English, is one of the earliest philosophies of cinema. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Les technologies hypermédias ont le potentiel de multiplier les sources d'information et de favoriser une communication scientifique plus ouverte à la discussion et au débat. Cependant, la lecture des documents hypermédias entraîne des difficultés, telles que la désorientation, pour de nombreux lecteurs. Nous avons évalué un ensemble d'hypertextes publiés par des revues de vulgarisation scientifique à la lumière des recommandations ergonomiques issues d'études expérimentales. Il en ressort que la plupart des publications offre une lisibilité médiocre, ignorant souvent les recommandations publiées. (...) Ensuite, notre étude expérimentale réalisée avec 59 lecteurs d'un dossier de vulgarisation, en version papier et hypertexte, nous a permis de confirmer le premier constat et d'identifier des sources de difficulté. Les lecteurs de l'hypertexte avaient une moindre compréhension du dossier et une plus grande perception de charge cognitive, bien que leur satisfaction soit aussi forte que celle des lecteurs du papier. La présente expérience montre des résultats significatifs en faveur de la version papier, mais pas de rejet a priori de la technologie. Nous présentons quelques suggestions pour améliorer la lisibilité des revues en ligne.Hypermedia can potentially increase the number of information sources and improve scientific communication by facilitating public debate. However, reading hypermedia documents can lead to difficulties such as disorientation for a number of readers. We investigated a corpus of hypermedia reports from online science magazines in the light of ergonomic recommendations based on results from experimental studies. We found that most publications showed poor levels of readability and did not follow the published recommendations. An experiment involving 59 readers and one popular science report from our initial corpus published in print and hypertext versions confirmed our first observations and allowed us to identify sources of difficulty. Hypertext readers showed poorer comprehension performance and higher perception of cognitive load. However satisfaction levels were high for hypertext and paper readers. The present study shows significant results in favor of the print format, but bias against technology from readers. We conclude with some suggestions to improve the readability of online science magazines. (shrink)

This article considers film as a form of artificial intelligence (AI). This non-anthropocentric hypothesis was first formulated in 1946 by filmmaker and theorist Jean Epstein and regards film as the thinking performance of a technical apparatus, the cinematograph, which is a manifestation of machine thinking based on the holistic entanglement of thought and world, film and philosophy. The article pursues an enquiry into ‘thinking’: one of the most prominent and oldest topics considered in philosophy, and also essential to (...) art and film. Thinking is not only characterised as a sense (like sight or taste) but as a creative and, ultimately, intra-active act. The possibility of film as AI is approached not only from a Deleuzian angle, long appraised by film-philosophy, but also through questions recently raised by theories of artistic research and the speculative-materialist turn in contemporary philosophy. The latter have as a common denominator a strong critique of anthropocentrism in Western philosophy; the article enquires into this criticism from different angles and applies it to the main hypothesis of this analysis – to regard film as a form of AI. (shrink)

This article argues that we can understand Jean Epstein's theory of photogénie as an instance of technics. Starting from a reading of Epstein's final fictional film Le Tempestaire, we can see that Epstein collapses the distinction between human and technological. This insight leads to a discussion of Epstein's theory of photogénie more generally, and one that highlights the term's relationship to temporality. This temporal dimension recalls Bernard Stiegler's discussion of technics in Technics and Time. As (...) the series evolves, Stiegler increasingly foregrounds cinema as technics, and the essay ends with a discussion of the ways that Epstein's understanding of photogénie can press on Stiegler's claims. (shrink)

When in 1958 André Bazin published the first volume of What is Cinema?, he was already recognized as French film's pre-eminent thinker. His position at Cahiers du cinéma and his influence on the young directors who were to launch the New Wave guaranteed his centrality and his influence. What is nevertheless surprising about this unparalleled success is how fundamentally conservative his writing was. His belief that ‘true realism’ constituted the ontology and the essence of cinema was remarkably out of step (...) with the major philosophical movements of his time. Paradoxically, it was not Bazin but Jean Epstein who best explained and defined the modernity of cinema. A reading of Epstein's Le Cinéma du diable will allow us to appreciate just how paradoxical it was that it was Bazin and not Epstein who was ‘selected’ to present cinema to a France immersed in existential and post-existential thought. (shrink)

The paper examines the relationship between film and reality, which on the author’s view cannot be grasped without taking into account the viewer. For Béla Balázs the viewer is a part of the film world. Jean Epstein goes even further in his substituting an actor for a viewer. Balázs develops the concept of identification while Epstein’s idea is to subvert the viewer’s world of peace and certainties. Benjamin shows that watching a film is a two-way effect. Barthes’ (...) aim is to show the place, from which this effect comes. Lyotard describes another particularity of the film. The stasis represents a situation when the film shows the limits of perception. (shrink)

What are film props? What do they do? This book answers these questions by a close attention to those material objects that are used to construct cinematic worlds. The term 'prop' is short for property. This truncated term's etymology belies the expansiveness of the concept and indicates the micro and macro scales at which the prop operates. Props are the material--often literal--furniture of cinema's diegetic reality. Props are also narrative agents: think of the animacy of objects in Jean (...) class='Hi'>Epstein's account of photogénie, the crystal egg in Risky Business, or the domestic bric-à-brac of Sirk's melodramas. The prop is central to production design and the construction of mise-en-scène. And yet, the prop has rarely--almost never--been taken as an object of analysis and theorization in its own right. This book begins by tracing the prop's curious but unacknowledged role in film theory, before proceeding to a series of theoretical speculations and close readings that bring the prop into focus. Analyses of scenes of 'prop mastery' demonstrate the labor that props perform and enable, as well as the interpretive work they make possible. Across a variety of genres, modes, and historical contexts--studio filmmaking, art cinema, adult and avant-garde films--The Prop introduces readers to the notion of 'prop value,' a quality that puts the prop in proximity to the capitalist commodity, but also provides an ironic distance from the commodity's subjection to exchange value. Gorfinkel and Rhodes argue that the prop is nothing less than a condensation of how labor, subjection, value, and instrumentality underwrite the very conditions of cinema. (shrink)

Today’s film scholars draw from a dizzying range of theoretical perspectives—they’re just as likely to cite philosopher Gilles Deleuze as they are to quote classic film theorist André Bazin. To students first encountering them, these theoretical lenses for viewing film can seem exhilarating, but also overwhelming. _Thinking in the Dark _introduces readers to twenty-one key theorists whose work has made a great impact on film scholarship today, including Rudolf Arnheim, Sergei Eisenstein, Michel Foucault, Siegfried Kracauer, and Judith Butler. Rather than (...) just discussing each theorist’s ideas in the abstract, the book shows how those concepts might be applied when interpreting specific films by including an analysis of both a classic film and a contemporary one. It thus demonstrates how theory can help us better appreciate films from all eras and genres: from _Hugo _to_ Vertigo_, from _City Lights _to _Sunset Blvd._, and from _Young Mr. Lincoln_ to _A.I. _and _Wall-E_. The volume’s contributors are all experts on their chosen theorist’s work and, furthermore, are skilled at explaining that thinker’s key ideas and terms to readers who are not yet familiar with them. _Thinking in the Dark _is not only a valuable resource for teachers and students of film, it’s also a fun read, one that teaches us all how to view familiar films through new eyes. Theorists examined in this volume are: Rudolf Arnheim, Béla Balázs, Roland Barthes, André Bazin, Walter Benjamin, Judith Butler, Stanley Cavell, Michel Chion, Gilles Deleuze, Jean Douchet, Sergei Eisenstein, Jean Epstein, Michel Foucault, Siegfried Kracauer, Jacques Lacan, Vachel Lindsay, Christian Metz, Hugo Münsterberg, V. F. Perkins, Jacques Rancière, and Jean Rouch. (shrink)

This article examines questions of trust in cinema through the lens of Shutter Island (Martin Scorsese, 2010). With its self-referential allusion to the mechanical “eye” of a camera, a stage-managed fantasy embedded within its plot and image of a dark lighthouse, Shutter Island explores its spectators' and its own cinematic sense of suspicion. The plot revolves around a protagonist who has locked himself out of certain memories and into a fantasy world. The article links pathological and therapeutic aspects of trust (...) with interpersonal and institutional trust issues in ways that blur distinctions between trusting others and trusting oneself, and shows how reliant each is on the other. Construing trust as a type of participant attitude and highlighting techniques used to render it cinematically, the article tracks its emergence and erosion, both in terms of the diegesis and its bearing on film spectatorship. As a post-classical commentary on film-making, Shutter Island is viewed as intricately exemplifying what Robert Sinnerbrink (2016) describes as an action-driven film with “a highly reflective consciousness of cinematic spectatorship” (p. 70), as well as what Thomas Elsaesser (2009) describes as a “mind-game film”. To make sense of its ending, which may strike viewers as baffling and unnerving, and show how the protagonist's seemingly irrational decision is part of its film-philosophical point, traumatic disturbances in subjectivity and “monstrosities” depicted in the film are linked to Jean Epstein's notion of “something monstrous” in cinematic imagery. The protagonist's deliberately chosen fate is interpreted as a reparative gesture, expressing a desire for psychological healing and a way of helping him to marshal and recover a semblance of moral order and integrity under demoralizing circumstances. (shrink)

La investigación humanística adquiere un nuevo matiz en los análisis que confrontan lenguajes de distintas disciplinas artísticas. Por esta razón, este artículo se propone un acercamiento analítico intermedial a la obra Cinco metros de poemas de Carlos Oquendo de Amat, partiendo del hallazgo en su poesía de estrategias fílmicas extraídas de la semiología del discurso cinematográfico. Este proceder analítico arroja luz sobre el complejo virtuosismo de su obra, aplicando las teorías del desplazamiento de la cámara y del montaje a sus (...) poemas. De ahí, se observa cómo el autor logra combinar las Estéticas de Jean Epstein, las técnicas de un film abstracto, con una hermenéutica profunda sobre el devenir de los tiempos. Con un arte similar al montaje armónico de la obra de Eisenstein, la obra logra implicar al “espectador” intelectual y emocionalmente gracias al complejo ensamblaje de sus cinco metros de poemas. (shrink)

This article explores the rich and generative spaces poised between Gilles Deleuze’s movement-image and time-image semiotic regimes as laid out in Cinema I: The Movement-Image and Cinema II: The Time-Image. Using a transhistorical approach, this investigation provides insight into the myriad strands that cross between the proposed ‘breaks’ in cinema’s evolution of style and structure. Using the works of Loïe Fuller and Agnes Varda, as well as the theoretical support of theorists such as Walter Benjamin, Henri Bergson, Jean (...) class='Hi'>Epstein and Gilles Deleuze himself, this research proposes a new mode of engaging with cinema’s history and semiotic evolution that re-immerses cinema within the ceaseless flow of its duration. In doing so, Deleuze’s historical break between the movement- and time-image regimes becomes an enriched and often contradictory space that offers a reimagining of cinema’s possibilities. (shrink)

Comment définir l'essai au cinéma? Reprenant l'héritage des avant-gardes des années 1920, à travers notamment les œuvres de Dziga Vertov, Jean Epstein ou Jean Vigo, l'essai filmique s'inscrit dans le cinéma moderne qui se définit au moment de la deuxième guerre mondiale avec Le Dictateur (1940) de Charlie Chaplin. Cette évolution se caractérise par un retour au documentaire et de nouvelles relations entre l'image et le son. On assiste alors dans le cinéma hollywoodien, avec Citizen Kane (1941) (...) d'Orson Welles et, dans le cinéma européen, avec Rome, ville ouverte (1945) de Roberto Rossellini, au développement de deux modernités cinématographiques qui annoncent les deux catégories de l'essai au cinéma : l'essai documentaire et l'essai de fiction. Ces deux tendances se traduisent dès les années 1960 avec Le Joli Mai (1963) de Chris Marker (coréalisé avec Pierre Lhomme) et 2 ou 3 choses que je sais d'elle (1967) de Jean-Luc Godard. En suivant les films qui ont marqué l'histoire de la modernité cinématographique et celle de l'essai au cinéma comme Voyage en Italie (1953), Nuit et Brouillard (1956), La Jetée (1963), Le Mépris (1963), Pierrot le fou (1965)... mais aussi avec les œuvres d'Agnès Varda, Jean Rouch, Pier Paolo Pasolini, Federico Fellini, Jean-Daniel Pollet, Harun Farocki ou Manoel de Oliveira, ce livre montre comment s'est développée une nouvelle approche du cinéma comme 'pensée qui forme' et 'forme qui pense'."--Page 4 of cover. (shrink)

An important but easily forgotten moment in the history of film-philosophy is Jean Epstein's assertion that cinema, more than merely thinking, has a kind of intelligence. If it is a newfound conception of rationality that is needed for any contemporary ethical relation to the world, as thinkers from Reza Negarestani and Pete Wolfendale to feminist collective Laboria Cuboniks have espoused in their respective neo-rationalist projects, then cinema as a thinking thing must be interrogated in its relation to reason. (...) A somatophilia of purely affective and phenomenological approaches in film theory alongside micropolitical injunctions to undermine common-sense and liberate one's desire in extremity can fall limp in view of such calls for universal thinking around rationality. To understand cinema's specific form of intelligence, this article will explore Luc Besson's Lucy as an instance of how film is able to represent intelligence. Besson's film provides a site where Western cultural anxieties and assumptions around intelligence are manifested. This will allow an explication of contemporary approaches to intelligence in philosophy whilst confronting these discourses with the insidious problematics of gender and race that undergird the film. I argue that Lucy shares many of its ambitions with the emerging vectors of thought associated with the neo-rationalist perspective in its engaging with a rethinking of universal values and the Promethean possibilities of human action. Reading the film through these philosophies will help position the ethical stakes it sets up, but also to distinguish it from a trend of contemporary “posthuman” films that it finds itself in company with. While it is certainly true that posthuman themes, as well as transhumanist fantasies, seem to permeate Besson's film, this article will incorporate another neologism, taken from neo-rationalist thinkers, in order to emphasise moments that can be productive from the standpoint of a philosophical account of intelligence: “rationalist inhumanism.”. (shrink)

1. Cine y vanguardias : el cine como promesa estético-política desde Dziga Vertov y Jean Epstein -- 2. Deleuze y las potencias del cine : el acontecimiento de lo inorgánico -- 3. De la vida inorgánica a la vida histórica : recuperación del carácter narrativo del cine a partir de Jacques Ranciere.

Esta antologia reúne uma reflexão sobre o cinema, revelando a diversidade de análises que têm marcado o pensamento sobre a experiência cinematográfica. O livro trata de grandes temas e de questões técnicas específicas - desde as explicações básicas dos cineastas do princípio do século até as sínteses e propostas estéticas do pensamento contemporâneo. Os textos são de expressivos pensadores do fenômeno cinematográfico do mundo inteiro como - Sergei Eisenstein, Luis Buñuel, Jean Epstein e Jean-Louis Baudry, entre outros.

The debate between Ursin (2019) and Wilkinson and colleagues (2019) in this issue of The American Journal of Bioethics underscores the long-standing theoretical controversy about the equivalence of...

Original title : 「ドガの『舞姫』」『深田康算全集』[Œuvres complètes de Fukada Yasukazu]. Machida, Tamagawa Daigaku Shuppanbu, 1972–1973, 3 : 9–15.

This book marks an important evolution in Jean Baudrillard's thought as he leavesbehind his older and better-known concept of the "simulacrum" and tackles the new problem of digitaltechnology acquiring organicity. The resulting world of cold communication and its indifferentalterity, seduction, metamorphoses, metastases, and transparency requires a new form of response.Writing in the shadow of Marshall McLuhan, Baudrillard insists that the content of communication iscompletely without meaning: the only thing that is communicated is communication itself. He sees themasses writhing in (...) an orgiastic ecstasy of communications. Baudrillard navigates the Object'smaelstrom with the euphoria of the astronaut reentering Earth's atmosphere with no possibility ofassistance from Mission Control. (shrink)

Jean-Jacques Lavoie | Résumé : L’auteur présente un état de la recherche de la critique textuelle de Qo 2,12 en montrant qu’il faut maintenir le texte massorétique, puisque c’est le texte le plus difficile. Puis, il présente un état de la recherche de la critique des sources ainsi que de l’analyse structurelle et littéraire, afin de montrer que ce verset doit être lu à la lumière de son contexte immédiat. En effet, la comparaison de la sagesse et de la (...) folie, au v. 12a, annonce la question de l’avantage de la sagesse sur la folie et du sage sur le fou, en 2,13-16. Quant au v. 12b, il annonce la question portant sur la valeur du successeur, en 2,19a, et souligne, non sans ironie, que la valeur du successeur est dérisoire et que celui-ci ne vaut que ce que le prédécesseur, aussi incomparable soit-il, a fait de lui. Ainsi compris, le v. 12 peut aussi se lire comme une allusion à Roboam en 1 R 12. |: The author presents a state of research about textual criticism concerning Qo 2,12 by showing that it is necessary to maintain the Masoretic Text, since it is the most difficult text. Then, he presents the state of the research about source criticism, as well as structural and literary analyses, in order to show that this verse should be read in the light of its immediate context. Indeed, the comparison between wisdom and folly, in v. 12a, announces the question of the advantage of wisdom over folly, and of the wise over the fool in 2.13-16. As to v. 12b, it announces the question concerning the value of the successor in 2.19a, and emphasizes, not without irony, that the value of the successor is derisory, and that it is worth only what the predecessor, however incomparable he may be, has made of him. Thus understood, v. 12b can also be read as an allusion to Rehoboam in 1 K 12. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:104 HISTORY OF PHILOSOPHY thus cast into the depths of skepticism. Because of his acquaintance with the skeptical literature Chilling-worth rejected the first alternative. Arguments concerning the fallibility of the senses and reason and the complexity of reality itself were too strong to be ignored. However, he was also unwilling to accept the second alternative. He developed instead a middle position. In his Religion of Protestants (London, 16S8) he (...) develops a position based on an appeal to common-sense and a doctrine of levels os evidence and certainty. Theological problems are to be solved in the same manner as problems of ordinary men in ordinary situations. Any claim to revelation, for example, is to be evaluated as any other problem, by examining the adequacy of the testimony and the reliability of witnesses. Hence the sense of mystery, of the revealedness of revelation is lost. Depending on whether one has good or poor evidence for a proposition one can be more or le~ certain of it. In most cases, one's certainty of religious propositions is of the same sort as that of the carpenter or pilot in their respective trades-not absolute certainty but certainty enough to assure good practical results. Hence religious belief is adequate if it serves to turn one from vice to virtue. Since religious truth is no longer unique, either with respect to evidence or certainty, it is available to all who are honest in their pursuit of it. Thus the epistemological justification for the democratization of religion of which Lichtenstein makes so much is provided a generation before More published his major works. My criticism of the book, then, is not that Lichtenstein attributes the de-emphasis of reason, loss of mystery, etc., of eighteenth-century thought solely to, More (though since he writes primarily on only one man one sometimes gets that impression) but that his account of the milieu from which More springs and of which he is only a part is inadequate. But for all that the book is well worth reading. HENRY G. VAN LEEUWs Hanover College Pascal. By Jean Steinmann. New edition revised and enlarged. ([Brus~ls]: Desclge De Brouwer [1962]. Pp. 378, illus. Bfr. 240.) Sorte de testament spirituel du critique tragiquement et prgmaturgment disparu, la seconde 6~dition du Pascal de Steinmann constitue sans doute la synth~se la plus agrgable et commode qui existe actuellement de la vie, de roeuvre et de la rgputation de Pascal. Entre les nombreux auteurs qui ont successivement attirg la plume rive et fgconde de Steinmann, Pascal est, en effet un de ceux avec qui il avait le plus de familiaritg. Ecrivain, th~logien, mais surtout exegete, Steinmann a d'ailleurs su mieux que presque tous ses pr~d~cesseurs, caractgriser la sensibilitg biblique de Pascal et en souligner l'importance. Inversement, il marque le caract~re peu philosophique de l'Apologi'e et voit (~t notre sens avec raison) la principale originalitg de son auteur dans le fair qu'il a cherch~ ~ mener au christianisme par la psychologie et par l'histoire, non par la metaphysique. Le chapitre le plus neuf de Steinmann est enfin celui que traite de l'histoire posthume de Pascal, sorte de bibliographie comrfientge qui sera certainment fort utile ~t celui qui abordera l'immense litt~rature publige ~ son sujet. Une rgaction en pattie l~gitime contre le clichg romantique de l'"inquigtude pascalienne " entra~ne Steinmann ~t trop insister apr~s B~guin, sur un,dogmatisme" (p. 308) d'ailleurs rattach6 ~ l'h6r6dit~ paternelle dont nous doutons qu'elle aft 6t6 dominante dans ]e cas de Pascal. On regrette aussi l'ignorance de l'article d'Et. Gilson sur "ab~tir" BOOK REVIEWS t05 (p. 254), des insuflisances au sujet du p~ht~ originel (p. 253), l'aflirmation erron~e du caract~re spontan~ de la confession au P. Beurrier (p. 207 n.) et surtout le lapsus Pinthard pour Pinthereau (pp. 363, $78). A c6t~ du petit Pascal de Jean Mesnard, cla~ique dans les universitY, le present ouvrage n'en contribuera pas moins ~ r~pondre dans un tr~s large cercle une connaissance de l'auteur des Pens~es enrichie par la sympathie. JZAN... (shrink)

The art of living today has shifted to a continuous state of the experimental. In one of his last texts, Telemorphosis, renowned thinker and anti-philosopher Jean Baudrillard takes on the task of thinking and reflecting on the coming digital media architectures of the social. While “the social” may have never existed, according to Baudrillard, his analysis at the beginning of the twenty-first century of the coming social media–networked cultures cannot be ignored. One need not look far in order to (...) find oneself snared within some sort of screenification of a techno-social community. “What the most radical critical critique, the most subversive delirious imagination, what no Situationist drift could have done... television has done.” Collective reality has entered a realm of telemorphosis. (shrink)

Parues pour la premiere fois en 1938, les Etudes kierkegaardiennes de Jean Wahl constitutent a tous egards une somme incontournable pour comprendre le sens de la philosophie de Kierkegaard et la place si originale qu'elle occupe dans l'histoire de la philosophie. L'auteur s'efforce d'y faire apparaitre le lien existant entre les evenements qui marquerent la vie de Kierkegaard et la formation de ses concepts fondamentaux. Par ce biais, l'auteur montre comment la theorie des trois stades de l'existence fait appel (...) a une dialectique qualitative, opposee a la dialectique hegelienne. L'auteur montre enfin que la theorie des trois stades de la croyance et de l'existence qui lui sont liees sont inseparables d'une lutte entreprise contre les pensees qui contribuerent a la genese de la pensee de Kierkegaard et qu'il s'agit a present pour lui de depasser: il n'y a pas de chemin qui conduit de la pensee, du cogito, a l'etre, au sum, car l'existence est l'etre hors de toute pensee. (shrink)

Eranos Tagung 2020 “Rinascere : la vita minacciata e la passione della vita” Casa Eranos, Ascona-Moscia, 3-5 settembre 2020 Prof. Jean-Jacques Wunenburger 4 settembre 2020 - Philosophie – Nouvel article.

An introduction to Jean-Luc Marion's philosophical and theological work in the form of a conversation with the author. Marion reflects on major 20th century French figures and their varied influence on his work, while giving an overview of his writings in the history of philosophy, theology, and phenomenology.

This absorbing volume at last contextualizes and elucidates the final thoughts of a brilliant and influential mind.

Nowadays nothing is more discredited than freedom. In the past, people sometimes sold their freedom for money. Today people sell it even if in its place they can only look forward to war or death. How did things come to this pass? Because the freedoms provided by bourgeois democracies are mystifications. The rights or the socalled rights we all have in principle have real meaning only for a miniscule part of the population.

RésuméIl y a desprohibitions morales aussi bien que légales contre les préjugés, mais une sorte au moins de préjugé se ramène à une variété commune d'inférence que l'on emploie fréquemment, et avec profit, sous d'autres noms. Cette inférence estelle fautive, et si oui, de quelle façon? Est-elle rationnellement fautive ou moralement fautive? Je soutiens ici que l'une et l'autre positions sont difficiles à défendre, et que la raison pour laquelle cette forme d'inférence est prohibée est à chercher du côté d'une (...) politique publique dont la seule défense possible repose sur le type méme de considérations qui se trouvent ainsi prohibées dans l'usage privé des individus. (shrink)