Influential philosopher Michel Serres’s foundational work uses fable to explore how human relations are identical to that of the parasite to the host body. Among Serres’s arguments is that by being pests, minor groups can become major players in public dialogue—creating diversity and complexity vital to human life and thought. Michel Serres is professor in history of science at the Sorbonne, professor of Romance languages at Stanford University, and author of several books, including _Genesis._ Lawrence R. Schehr is professor of (...) French at the University of Illinois, Urbana-Champaign. Cary Wolfe is Bruce and Elizabeth Dunlevie Professor of English at Rice University. His books include _Zoontologies: The Question of the Animal _. (shrink)

Michel Serres is one of the most influential living theorists in European philosophy. This volume makes available a work which has a foundational place in the development of chaos theory, representing a tour de force application of the principles underlying Serres' distinctive philosophy of science.

Veils -- Boxes -- Tables -- Visit -- Joy.

This book is an English-language translation of a bestselling book in France that explores the relationship between humans and new technologies.

Biogea is a mixture of poetry, philosophy, science, and biography exemplary of the style that has made Michel Serres one of the most extraordinary thinkers of his age. His philosophical and poetic inquiry sings in praise of earth and life, what he names singularly as Biogea. In these times when species are disappearing, when catastrophic events such as earthquakes and tsunamis impale the earth, Serres wonders if anyone “worries about the death pangs of the rivers.” And for Serres, one can (...) ask the same question of philosophy as the humanities increasingly find themselves in need of defenders. Today, all living organisms discover themselves part of this Biogea. “Today we have other neighbors, constituents of the Biogea: the sea, my lover; our mother, the Earth, becomes our daughter; this beautiful breeze which inspires the spirit, a spiritual mistress; our light friends, the fresh and flowing waters.”. (shrink)

With this profound final work, completed in the days leading up to his death, Michel Serres presents a vivid picture of his thinking about religion—a constant preoccupation since childhood—thereby completing Le Grand Récit, the comprehensive explanation of the world and of humanity to which he devoted the last twenty years of his life. Themes from Serres's earlier writings—energy and information, the role of the media in modern society, the anthropological function of sacrifice, the role of scientific knowledge, the problem of (...) evil—are reinterpreted here in the light of the Old Testament accounts of Isaac and Jonah and a variety of Gospel episodes, including the Three Wise Men of the Epiphany, the Transfiguration, Peter's denying Christ, the Crucifixion, Emmaus, and the Pentecost. Monotheistic religion, Serres argues, resembles mathematical abstraction in its dazzling power to bring together the real and the virtual, the natural and the transcendent; but only in its Christian embodiment is it capable of binding together human beings in such a way that partisan attachments are dissolved and a new era of history, free for once of the lethal repetition of collective violence, can be entered into. (shrink)

In this reflection on the relation between nature and culture, Michel Serres relates the present environmental catastrophe to pollution generated by humanity's efforts to appropriate.

« D’où jaillit la Musique? Des bruits du monde? Des clameurs issues des assemblées? De nos émotions? Et comment la définir? Rien de plus difficile que de répondre à ces questions. J’ai préféré dire ce qu’elle est en trois contes. Légendaire, le premier suit la vie d’Orphée, son initiation auprès des Bacchantes et des Muses, puis sa plongée dans les Enfers à la recherche d’Eurydice, son amante. Comment aimer en Musique? Autobiographique, le second envahit le Grand Récit de la connaissance (...) qui devient ici une Grande Symphonie. Peut-on penser en Musique? Biblique enfin, le dernier psalmodie, de la Genèse à la Nativité. Doit-on prier en Musique? » Michel Serres. (shrink)

World-renowned philosopher, Michel Serres writes a text in praise of the body and movement, in praise of teachers of physical education, coaches, mountain guides, athletes, dancers, mimes, clowns, artisans, and artists. This work describes the variations, the admirable metamorphoses that the body can accomplish. While animals lack such a variety of gestures, postures, and movements, the fluidity of the human body mimics the leisure of living beings and things; what's more, it creates signs. Already here, within its movements and metamorphoses, (...) the mind is born. The five senses are not the only source of knowledge: it emerges, in large part, from the imitations the plasticity of the body allows. In it, with it, by it knowledge begins. (shrink)

Ce livre raconte la pensée de Michel Serres à travers des entretiens vivants où le penseur revient sur son itinéraire, depuis la traversée de la guerre au bord de la Garonne jusqu'à aujourd'hui. Passeur des savoirs, capable de faire comprendre l'histoire des idées au travers de récits savoureux, Michel Serres reste insuffisamment connu. Sait-on que ce philosophe pour qui "penser, c'est anticiper", a vu venir avant tout le monde toutes les grandes révolutions de notre temps : la fin de l'agriculture, (...) l'avènement des communications, la crise de l'écologie, la révolution numérique, l'éloignement de la mort. Pour saisir ces événements, il a forgé des concepts nouveaux - l'Hominescence, le Contrat Naturel - mais également imaginé des personnages grâce auxquels ces expériences neuves de notre humanité s'incarnent : Hermès, Le Tiers-Instruit, Petite Poucette. Pantopie (du grec "pantopos", "tous les lieux") est l'espace où tous ces personnages prennent sens. Martin Legros, philosophe, et Sven Ortoli, historien des sciences, ont su amener Michel Serres à organiser la présentation de son œuvre autour des grands personnages qui l'habitent et à la replacer dans le paysage intellectuel et philosophique contemporain. (shrink)

"Nos sociétés occidentales ont déjà vécu deux révolutions : le passage de l'oral à l'écrit, puis de l'écrit à l'imprimé. Comme chacune des précédentes, la troisième, tout aussi décisive, s'accompagne de mutations politiques, sociales et cognitives. Ce sont des périodes de crises. De l'essor des nouvelles technologies, un nouvel humain est né : Michel Serres le baptise "Petite Poucette". Petite Poucette va devoir réinventer une manière de vivre ensemble, des institutions, une manière d'être et de connaître..." [Source : extrait de (...) la 4e de couv.]. (shrink)

Qu'est-ce que l'humain? ou comment deux savants assez philosophes et un philosophe assez savant reviennent sur la distinction classique entre nature et culture. Notre tradition culturelle posait une barrière quasiment étanche entre l'animal et l'humain. Nous savons aujourd'hui que nous partageons avec nos cousins les plus récents l'immense majorité de notre matériel génétique. Alors qu'est-ce qui spécifie l'humain? Trois réponses venues de trois disciplines : la neurobiologie, en un va et vient entre sciences cognitives et biologie du système nerveux, la (...) paléoanthropologie, à la charnière de la théorie de l'évolution et de la préhistoire, et la philosophie. (shrink)

Je tente dans ce texte de définir plusieurs sortes de cultures : une première, ethnologique ou folklorique; une autre, académique; une troisième, contemporaine et médiatique; enfin, celle dont j'espère qu'elle advient, que je nomme générique : adaptée à toute ethnie et fondée sur le Grand Récit.

In lieu of an abstract, here is a brief excerpt of the content:Ego CredoMichel Serres (bio)Saint Paul combines in one singular person the three ancient formats, Jewish, Greek, and Latin, from which the Western World sprang. A devout Pharisee, he was born in Tarsus into a family of the Diaspora, and educated in Jerusalem under Gamaliel; he observed Mosaic Law and constantly cited the Torah, both Psalms and Prophets, with erudition. It also seems likely that he knew Greek philosophy, at (...) least by way of Philo the Jew, since he wrote and spoke the Greek language and cited some of its authors, saying that he admired its wisdom, practiced its elegance, and dreaded its reason. As a Roman citizen, like his father, he took pride in this status; he must have known Roman Law, since after being sentenced by the imperial courts, he addressed an appeal to them.Saint Paul not only symbolizes the cultural melting pot among Mediterranean sailors, port-merchants, and occasional scholars during the Pax romana; he above all embodies the integral man built by the Law, the Logos, and the Administration, three formats forged in the fires of Hebraic monotheism, Hellenistic rational Wisdom, and Roman Law, themselves respectively shaped by ritual in the Temple, harmony in the Cosmos, and the City-State in the Empire. This triple belonging to an organized society, a systematic world, and an all-powerful god promotes excellent modes of conduct.Triply formatted in this way, Saint Paul, newly named, rose up out of the trinity of his belonging; he traveled the world over, and he invented the coming era. In so doing, he braved three disasters: the persecution of his fellows, the mockery of Greek philosophers on the Areopagus, and his trial and probable execution by Rome. In and through Paul, all the superior and lasting achievements of the Indo-European and Semitic traditions stem from this original bifurcation; the good news he proclaims is incarnated and grafted on him and through him; from him, the branch of a new creature springs forth.Although his ancient formats imply a belonging to three different communities, the new man identifies with none of them in order to create something entirely new. But what? [End Page 1]Belonging and IdentityIn a previous book, I wrote that my identity cannot be reduced to my belonging to certain groups. So do not call me "old man," a male, or a writer, but put me, if you must, in whichever subcategory designates the corresponding age, sex, or profession. Apart from these characteristics, who am I? Me. All the rest, including what the government bureaucracy obliges me to write on my so-called "identity" card, merely indicates some of the subcategories to which I belong.If you confuse belonging and identity, you make a logical error that is certainly serious, but, in the end, relatively benign. Moreover, you set yourself up to make a deadly mistake, that of racism, which consists precisely in reducing a person to one of his groups. We owe this distinction (which is so important that I like to repeat it) to Saint Paul. We owe it to him both in theory, because he elaborates it, and in terms of his life, because the Good News that he brings breaks with the three ancient formats, all three of which were associated with groups."There is neither Jew nor Greek," says Paul, "there is neither bond nor free, there is neither male nor female" (Gal. 3:28). All he mentions here are classes, sexes, languages, or nations—in short, all categories or groups. What he means is that there is no longer any belonging in the earlier sense, leaving only the identity I = I: "But by the grace of God I am what I am" (1 Cor. 15:10).For Paul, the only thing left is this "new creature": I, the adoptive Son of God, through faith in Jesus Christ; I, full of faith and without works, without pride; I, empty, poor, and nothing: universal.Who am I? I am I, and that is all. If we put aside the subcategorical definition of belonging (x å A), the principle of identity becomes evident, not in a formal way, as in the Aristotelian sense of a... (shrink)

"Depuis l'embryon lové dans le ventre de sa mère, jusqu'aux métropoles qui couvrent la Terre de leurs lumières permanentes, les humains ont inventé de nombreuses façons d'habiter. Mais les animaux et, plus étonnant, les végétaux avaient déjà exploré de nombreux modes d'habitat. Michel Serres nous dévoile les secrets de ces architectures séduisantes et multiples, nous en montre le sens et les mots, et esquisse ainsi le monde de demain." Présentation de l'éditeur.

t. 1. Étoiles.--t. 2. Schémas. Point.

" Pour chanter les vingt ans du Pommier, mon éditrice me demanda d'écrire quelques lignes. Les voici. Pour une fois, j'y entre en morale, comme en terre nouvelle et inconnue, sur la pointe des pieds. On disait jadis de l'Arlequin de mes rêves, bienheureux comédien de l'art, qu'il corrigeait les moeurs en riant. Devenu arrière-grand-père, son disciple a, de même, le devoir sacré de raconter des histoires à ses petits descendants en leur enseignant à faire des grimaces narquoises. Parvenus ensemble (...) à l'âge espiègle, j'en profite pour leur dire de l'austère en pouffant de rire. " Michel Serres. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Separating the Human from the Divine Cesáreo Bandera University ofNorth Carolina at Chapel Hill Myths are hard to die. One such myth concerns what happened with poetry in general, that is to say, imaginative literature or literary fiction, in the transition from the Middle Ages to the Renaissance and beyond. Its basic outline was developed during the nineteenth century. J. E. Spingarn, for example, echoes such a myth in (...) his History of Literary Criticism in the Renaissance, first published in 1899, which has gone through many editions and reprintings since then. In it we read the following: The first problem of Renaissance criticism was the justification of imaginative literature. The existence and continuity of the aesthetic consciousness, and perhaps, in a less degree, of the critical faculty, throughout the Middle Ages, can hardly be denied; yet distrust of literature was keenest among the very class of men in whom the critical faculty might be presupposed, and it was as the handmaid of philosophy, and most of all as the vassal of theology, that poetry was chiefly valued.... The Renaissance was thus confronted with the necessity ofjustifying its appreciation of the vast body of literature which the Revival of Learning had recovered for the modern world. (3) Speaking of Savonarola's De Divisione ac Utilititate Omnium Scientiarum, written about 1492, he concludes as follows: In fine, as a reformer, he represents for us the religious reaction against the paganization of culture by the humanists. But the forces against him were too strong. Even the Christianization of culture effected during the next century by the Council of Trent was hardly more than temporary. Humanism, which represents 74Cesáreo Bandera the revival of ancient pagan culture, and rationalism, which represents the growth of the modem spirit in science and art, were currents too powerful to be impeded by any reformer, however great. (14) This general picture of the historical standing and the fate of literary fiction as we move from the Middle Ages into the modern era, is still very much with us, even though it is ill at ease with, or flatly contradicted by, undeniable historical facts. For example, the incredible notion of a "paganization of culture by the humanists" would have horrified somebody as profoundly Christian as Petrarch and, later on, Erasmus, who criticized the scholastics "in the name of a purer and simpler mode of piety and religious devotion" (Mazzeo 17). Or the mistaken idea that modern rationalism was much more hospitable to poetry than the old scholastic one. For from the seventeenth century on, as J. F. West has pointed out, the whole tide of [scientific] opinion was running strongly against poetry, metaphor, and poetic prose. The philosophers generally saw them as an obstacle to truth. Hobbes regarded metaphor as one of the hindrances to straight thinking. Rousseau thought that the philosophy of Descartes had 'cut the throat of poetry'; and John Locke, late in the century, openly regarded poetry as made up of 'pleasant pictures and agreeable visions in the fancy,' but basically misleading. (114) It is indeed true that in medieval scholasticism poetry occupies the lowest rank in the hierarchical structure of the arts and sciences. But it does have a place there. It would have never occurred to Thomas Aquinas, for example, to expel it from that position as something dangerous, something to be avoided. In fact, as he tells us at the beginning of the Summa Theologica, theology itself, the highest of the sciences, does not consider it below its dignity to make use of metaphor and other poetic devices propter utilitatem ac necessitatem. And yet it is precisely that kind of violent expulsion ofpoetic fiction that will be attempted during the Renaissance. In the words of Russell Fraser, "it is in the Renaissance, and not the Middle Ages that the artist is driven from the commonwealth" (39). It was then that the "war against poetry" intensified to fever pitch. It is, therefore, an error to imagine that those in the sixteenth and seventeenth centuries who bitterly attacked poetic fiction in general and the theater in particular as a very dangerous threat to religion and morality, were fanatic hold-overs from a medieval past... (shrink)