In the 17th century the dissemination of philosophical ideas relied also on the critical summaries and reviews published by the journals. The focus of this paper is the reactions of two of these journals – the Journal de Trévoux, edited by the Jesuits of the Parisian Collège Louis Le Grand, and the Journal des Sçavans – to Condillac’s works. The Jesuit journal, under the direction of pére Berthier – probably himself the author of the reviews – had a precise plan (...) in presenting Condillac’s philosophy as an anti-empiricist and anti-materialist doctrine, sometime giving a misrepresentation of the author’s thought, which is also criticized on some points. The decision of the Journal de Trévoux to review the main works of Condillac is anyway worthy of attention, and probably betrays a certain interest toward the more up to date philosophical enquiry. The Journal des Sçavans was on the other hand more faithful in presenting Condillac’s works. (shrink)

Cabanis’ enucleation of the notion of instinct in his Rapports du physique et du moral de l’homme articulates through a critique of the use of this notion by Étienne Bonnot de Condillac, who would not have recognised the founding role of physiology in human perceptive and intellectual activity. An analysis of Cabanis’ criticism to Condillac and an investigation of the meaning attributed to the notion of instinct by both philosophers allow to individuate in this notion the expression of two different (...) types of materialism. The different position of Cabanis and Condillac on this notion, in fact, reflects the divergence on a series of notions – e.g. reflexion, sensitivity, habitus – which can be traced back to the different aims of their investigations. In addition to highlighting this basic divergence, this paper aims to bring out – especially referring to Condillac’s Logique – some points of contact, of which Cabanis seems not to have considered, concerning the conception of the human body as ‘organisation physique’. (shrink)

This issue of Itinera aims to address the connections between architecture and the performing arts in its various aspects and from multiple points of view. The growing emphasis on the performative character of artistic practices, namely, their ability to involve spectators directly and pervasively (Dixon 2007), imbues the relationship between architecture, the performing arts, and the spectator’s experience. The sharing of the scenic space by spectators and performers is essential for the co-production of a common energy which operates as a (...) “transforming force” and thereby opens up the shared experience of discovering oneself and the other as a union of the body and the mind (Fischer-Lichte 2004). (shrink)

Xavier Le Roy’s performance Self-Unfinished is emblematic of how contemporary dance’s resistance to the submission of the body to a codified ideal body model manifests itself through the staging of bodies “beyond codes”, i.e., bodies that take surprising, sometimes even apparently “monstrous” shapes. The purpose of this article is to investigate the “monstrosity” of Self-Unfinished and to sketch out an analysis of it following Hermann Schmitz's theory of the Leib and Tonino Griffero’s account on atmospheres.

Following Erika Fischer-Lichte’s notion of emergence as an unexpected phenome-non that questions the notion of agency, our aim is to investigate how dance emerges through movements that are spontaneous and yet learnt while not being reducible to a motor expertise. Through Hermann Schmitz’ theory of the felt body, and notions such as “kinaesthetic attention”, grace and “pure” presence, we will show how dance movements emerge from the mutual “affective” influence be-tween dancers and the surroundings thanks to dancers’ “pathic” state between (...) awareness and unconsciousness, laîcher prise and restraint. (shrink)