The fourth volume in the series "Jean-Franðcois Lyotard: Writings on Contemporary Art and Artists" contains 48 texts written by Lyotard between the early seventies and 1998, the year of his death. Nine of these texts are previously unpublished papers on general aesthetics and the theory of art. The remaining 39 essays deal with 27 specific artists: Luciano Berio, Richard Lindner, René Guiffrey, Gianfranco Baruchello, Henri Maccheroni, Riwan Tromeur, Albert Ayme, Manuel Casimiro, Ruth Francken, Barnett Newman, Jean-Luc (...) Parant, François Lapouge, Sam Francis, André Dubreuil, Joseph Kosuth, Sarah Flohr, Lino Centi, Gigliola Fazzini, Bracha Lichtenberger Ettinger, Henri Martin, Michel Bouvet, Corinne Filippi, Stig Brogger, François Rouan, Pierre Skira Pastels, and Béatrice Casadesus. Many of these texts are notes or contributions to catalogues; some were published in now inaccessible journals. (shrink)

Jean-Francois Lyotard is often considered to be the father of postmodernism. Here leading experts in the field of cultural and philosophical studies, including Barry Smart, John O' Neill and Victor J. Seidler, tackle many of the questions still being asked about this controversial figure.

La pensée du cinéma ne rencontre d'ordinaire Jean-François Lyotard, dans ses textes sur le cinéma ou non, que par le biais de deux activateurs : l'acinéma et le figurai. Ces deux activateurs, au demeurant, sont fortement représentatifs de la position paradoxale de Lyotard pour les études cinématographiques : si l'acinéma a été le plus souvent critiqué pour sa radicalité voire son sectarisme, n'ayant de fait guère de postérité, il en va tout autrement du figurai, lequel a trouvé (...) dans les films un terrain fertile d'investigation. Tout autant représentative est la méconnaissance en théorie du cinéma de nombreux autres textes de Lyotard portant sur le cinéma ou sur des films, et dont on ne parle jamais, ainsi que de sa philosophie postérieure à sa période libidinale, qui ne semble pas avoir encore trouvé d'échos particuliers en régime filmique. Le présent ouvrage fait précisément le pari de ces deux directions. A partir d'un autre Lyotard, ou du même mais envisagé très différemment, se dessinera progressivement une possibilité de penser le cinéma qui ne devra plus rien au figurai, à l'abstrait ou à l'expérimental, dont Lyotard le premier a fini par revenir, mais qui, singulièrement, ouvrira à une originale théorie du cinéma figuratif. " Méfiance envers les figuratifs quand ils ont de l'âme ", peut-on lire dans Que peindre?... (shrink)

This three-volume set is a collection of key critical responses by leading scholars to the philosophical and theoretical writings of this late postmodern philosopher. Organized thematically, the collection includes commentaries on Lyotard's life and early philosophical writings, as well as on ethics, aesthetics, and politics. With a new introduction by the editor providing a comprehensive overview of Jean-François Lyotards life and works, this impressive collection provides students and scholars with a valuable resource for studying this important philosophical figure.

In the first monograph on Lyotard and education, Derek R. Ford approaches Lyotard's thought as pedagogical in itself. The result is a novel, soft, and accessible study of Lyotard organized around two inhuman educations: that of "the system" and that of "the human." The former enforces an interminable process of development, dialogue and exchange, while the latter finds its force in the mute, secret, opaque, and inarticulable. Threading together a range of Lyotard's work through four pedagogical (...) processes-reading, writing, voicing, and listening-the author insists on the distinct educational logics that can uphold or interrupt different ways of being-together in the world, touching on a range of topics from literacy and aesthetics to time and political-economy. While Inhuman Educations can serve as an introduction to Lyotard's philosophy, it also constitutes a singular, provocative, and fresh take on his thought. (shrink)

The posthumous Pourquoi Philosopher? collects Jean-Fran ç ois Lyotard’s previously unpublished four-part introductory course in philosophy, delivered to students of the Sorbonne in 1964. The interest of this text is both historical (appearing at an important juncture in French thought) and meta-philosophical (answering the question "why philosophize?" in such a way that a philosophy of philosophy - or rather several - is offered for consideration). The text will be of interest to readers of various levels of philosophical sophistication.

The Lyotard Reader is a collection of Jean-Francois Lyotard's most important and significant papers to date. While they are all written from within philosophy, they seek to address subjects as wide-ranging as film, painting, psychoanlaysis, Judaism and politics. The originality of Lyotard's work means that it cannot be readily situated within any one philosophical tradition. Instead he returns philosophy itself to debates across a range of areas and, in so doing, redefines the philosophical enterprise.

Jean-François Lyotard. First acquaintance with Lyotard -- Kant's notion of the sublime and its appropriation by Lyotard -- Transposing Kant to the key of the postmodern -- The role of feelings in Lyotard's political judgment -- Universality revisited -- Jacques Derrida. The Nietzschean influence -- Derrida and phenomenology -- Derrida's exploration of exteriority and anteriority -- Derrida's political ethics : foundations -- Derrida's political ethics : further elaborations : the international scene.

This book is unique in both its subject matter and its approach. It focuses on the collaboration of J. Derrida, J.-F. Lyotard, J. Hillis Miller, D. Carroll, F. Jameson and others at the Critical Theory Institute at the University of California, Irvine and on the application of critical theory for the analysis of contemporary American visual art. The critical and philosophical analysis concerns the art of Bruce Nauman, Kosuth, Burden, Christo, Wodiczko, Johns, Rauschenberg, and others. The focus of the (...) book is on irony and the sublime. The book also includes the original Prologue by G. van Den Abbeele (Dean of the School of Humanities at UC Irvine 2013-2018) on the history of Critical Theory in the United States, and at UCI, in particular. The CTI's uniqueness consisted in it being one of the best centers of the Critical Theory studies in the United States. (shrink)

"In a wide-ranging discussion the author examines the philosophy of Kant, Heidegger, Adorno and Derrida and looks at the works of modernist and postmodernist artists such as Cezanne, Debussy and Boulez. Lyotard addresses issues such as time and memory, the sublime and the avant-garde, and the relationship between aesthetics and politics. Throughout his discussion he considers the close but problematic links between modernity, progress and humanity, and the transition to postmodernity. Lyotard claims that it is the task of (...) literature, philosophy and the arts to bear witness to and explain this difficult transition." "This important contribution to aesthetic and philosophical debates will be of great interest to students in philosophy, literary and cultural theory and politics."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

Lyotard’s earliest major work, available in English for the first time. Jean-François Lyotard is recognized as one of the most significant French philosophers of the twentieth century. Although nearly all of his major writing has been translated into English, one important work has until now been unavailable. Discourse, Figure is Lyotard’s thesis. Provoked in part by Lacan’s influential seminars in Paris, Discourse, Figure distinguishes between the meaningfulness of linguistic signs and the meaningfulness of plastic arts such (...) as painting and sculpture. Lyotard argues that because rational thought is discursive and works of art are inherently opaque signs, certain aspects of artistic meaning such as symbols and the pictorial richness of painting will always be beyond reason’s grasp. A wide-ranging and highly unusual work, Discourse, Figure proceeds from an attentive consideration of the phenomenology of experience to an ambitious meditation on the psychoanalytic account of the subject of experience, structured by the confrontation between phenomenology and psychoanalysis as contending frames within which to think the materialism of consciousness. In addition to prefiguring many of Lyotard’s later concerns, Discourse, Figure captures Lyotard’s passionate engagement with topics beyond phenomenology and psychoanalysis to structuralism, semiotics, poetry, art, and the philosophy of language. (shrink)

Philosophical aesthetics have seen an amazing revival over the past decade, as a radical questioning of the very grounds of Western epistemology has revealed that descriptions of what used to be seen as specific to aesthetic experience can instead be viewed as a general model for human cognition. In this revival, no text in the classical corpus of Western philosophy has been more frequently discussed and debated than the dense, complex paragraphs inserted into Kant's Critique of Judgment as sections 23-29: (...) the Analytic of the Sublime. This book is a rigorous explication de texte, a close reading of these sections. The Analytic of the Sublime, he points out, tries to argue that human thought is always constituted through a similar incompatibility between different intellectual and affective faculties. These lessons thus try to isolate the analysis of a differend of feeling in Kant's text, which is also the analysis of a feeling of differend, and to connect this feeling with the transport that leads all thought (critical thought included) to its limits. (shrink)

Brings together previously unpublished essays by one of the most important philosophers of the last three decades of the 20th century. This authorized compilation of 13 essays reflect the main stages of Lyotard's thought—the libidinal, the pagan, and the intractable—leading toward his account of the postmodern in contemporary thought and culture.

« Pourquoi philosopher ? Parce qu’il y a le désir, parce qu’il y a de l’absence dans la présence, du mort dans le vif ; et aussi parce qu’il y a notre pouvoir qui ne l’est pas encore ; et aussi parce qu’il y a l’aliénation, la perte de ce qu’on croyait acquis et l’écart entre le fait et le faire, entre le dit et le dire ; et enfin parce que nous ne pouvons pas échapper à cela : attester (...) la présence du manque par notre parole. En vérité, comment ne pas philosopher ? » D’une rare limpidité pédagogique, en même temps que d’une rare profondeur philosophique, ce cours d’introduction à la philosophie donné par Lyotard en 1964 est totalement inédit. (shrink)

Fragments presents a set of brilliantly intriguing interviews with Jean Baudrillard whose work today occupies center stage in the analysis of consumerism, terrorism, and contemporary culture. In these frank discussions with François L'Yvonnet, Baudrillard reveals for the first time in detail the thinkers who have been the dominant influences on his work during his career. Instead of examining his work as a project of intellectual accumulation, he challenges all the major interpretations of his work by suggesting he has always (...) adopted an anti-system, anti-totality strategy. Even globalization is accompanied in his view by a Western culture which itself is no longer a well-founded confident universalism. Perhaps most interestingly, Baudrillard discusses his life's work in relationship to his contemporaries -- Bataille , Barthes, Lyotard and Deleuze - and explores his position as an outsider in the field of French philosophy. Baudrillard in these interviews is in sparkling form, and in his ownwords he presents not only a lively introduction to this great thinker but also gives readers a window into a brilliant mind. (shrink)

La actual pandemia de SARS-CoV-2 pone de relieve una vez más el modelo fallido con el nos enfrentamos a las crisis que afectan a nuestro mundo, desde el cambio climático y las recientes situaciones de emergencia de los refugiados, hasta la ascensión de los extremismos políticos en las sociedades occidentales. Como argumentan la filósofa feminista Donna Haraway y el sociólogo y filósofo Bruno Latour, se hace necesario un cambio de paradigma y una redefinición de la subjetividad para enfrentarnos al Antropoceno. (...) La Bienal de Venecia 2019, “May You Live in Interesting Times”, comisariada por Ralph Rugoff, propuso un modelo experimental de pensamiento artístico (que denominaré “tentacular” haciendo uso de la teoría desarrollada por Haraway) que cuestionaba los paradigmas heredados de la Ilustración, y también, en cierto grado, de la postmodernidad. Por su calado filosófico, la muestra es comparable a “Les Immatériaux” (1985), la histórica exposición comisariada por el filósofo Jean-François Lyotard, quien asimismo conceptualizó la postmodernidad y la experiencia de lo “sublime postmoderno”, concepto que sirve para establecer un contraste con lo “sublime tentacular”, la experiencia contemporánea que aportó la reciente la bienal. (shrink)

Leading scholars address the ethical and practical dimensions of Heidegger's thought.

The most accessible expression of François Laruelles non-philosophical, or non-standard, thought, _General Theory of Victims_ forges a new role for contemporary philosophers and intellectuals by rethinking their relation to victims. A key text in recent continental philosophy, it is indispensable for anyone interested in the debates surrounding materialism, philosophy of religion, and ethics. Transforming Joseph de Maistres adage that the executioner is the cornerstone of society, _General Theory of Victims_ instead proposes the victim as the cornerstone of humanity and the (...) key figure for contemporary thought. Laruelle condemns philosophy for participating in and legitimating the great persecutions of the twentieth century, and lays out a new vision of victim-oriented ethics. To do this, he engages the resources of both quantum physics and theology in order to adapt a key concept of non-philosophy, Man-in-person, for a new understanding of the victim. As Man-in-person, the victim is no longer exclusively defined by suffering, but has the capacity to rise up against the worlds persecution. Based on this, Laruelle develops a new ethical role for the intellectual in which he does not merely represent the victim, but imitates or clones it, thereby assisting the victims uprising within thought. (shrink)

De quelle définition de l'authenticité peut-on se réclamer aujourd'hui? L'authentês, en grec, c'est d'abord "celui dont émane une action", son auteur. C'est à mesurer l'envergure et les difficultés de cette quête de liberté authentique qui est celle de Rousseau autant que la nôtre, qu'est consacré cet ouvrage.

Jean-François Lyotard (1924-1998) was one of the most important French philosophers of the Twentieth Century. His impact has been felt across many disciplines: sociology; cultural studies; art theory and politics. This volume presents a diverse selection of interviews, conversations and debates which relate to the five decades of his working life, both as a political militant, experimental philosopher and teacher. Including hard-to-find interviews and previously untranslated material, this is the first time that interviews with Lyotard have been (...) presented as a collection. Key concepts from Lyotard's thought – the differend, the postmodern, the immaterial – are debated and discussed across different time periods, prompted by specific contexts and provocations. In addition there are debates with other thinkers, including Emmanuel Levinas and Jacques Derrida, which may be less familiar to an Anglophone audience. These debates and interviews help to contextualise Lyotard, highlighting the importance of Marx, Freud, Kant and Wittgenstein, in addition to the Jewish thought which accompanies the questions of silence, justice and presence that pervades Lyotard's thinking. (shrink)

English summary: Jean-Francois Revel (1924-2006) was an essential intellectual and author of the twentieth century. His work explored the ideological sources that fed the various forms of totalitarianism, from Communism to Islamism. The present biography sheds light on the multiple aspects of this combative thought couched in the will affirm the principals of both economic and political liberal democracy. French description: Loin de n'avoir ete qu'un polemiste de talent, Jean-Francois Revel (1924-2006) a ete, de Pourquoi des philosophes? (1957) (...) a L'Obsession antiamericaine (2002), l'auteur d'une oeuvre de premiere importance, jalonnee par de fracassants succes populaires et internationaux. Allant bien au-dela du seul engagement anticommuniste, la force et la singularite intellectuelles de sa pensee n'avaient jamais, jusqu'ici, fait l'objet d'une synthese exhaustive qui aurait permis d'en eclairer la place dans l'histoire contemporaine des idees - une beance que le present ouvrage vient enfin combler. Avant tout anime par la passion des faits, ce philosophe s'est constamment employe a pourfendre et a deconstruire les impostures ideologiques dont se sont nourries les diverses tentations totalitaires qui ont marque le XXe siecle, jusque sous leurs recents avatars de l'islamisme et de l'antiracisme devoye. Philippe Boulanger, dans cette passionnante biographie intellectuelle, expose les etapes successives et les multiples aspects de cette pensee de combat qui trouve son unite profonde dans la volonte de reaffirmer sans concession l'insigne valeur des principes d'une democratie liberale, en economie comme en politique. Chaque jour qui passe semble en rappeler l'intempestive et remarquable pertinence. (shrink)

The utterance of a negative statement invites the pragmatic inference that some reason exists for the proposition it negates to be true; this pragmatic inference paves the way for the logically unexpected Modus Shmollens inference: “If p then q ; not- q ; therefore, p.” Experiment 1 shows that a majority of reasoners endorse Modus Shmollens from an explicit major conditional premise and a negative utterance as a minor premise: e.g., reasoners conclude that “the soup tastes like garlic” from the (...) premises “If a soup tastes like garlic, then there is garlic in the soup; Carole tells Didier that there is no garlic in the soup they are eating.” Experiment 2 shows that this effect is mediated by the derivation of a pragmatic inference from negation. We discuss how theories of conditional reasoning can integrate such a pragmatic effect. (shrink)