This article presents the intellectual approach of an important thinker of the contemporary world, Michel de Certeau (1925-1986), to show its coherence. At the first look his work seems confusing: it addresses both the mystical phenomena of the past and the daily life of his contemporaries. His interests are multifaceted: he was at the same time theologian, historian, sociologist, philosopher of history. His work is a permanent research in a world in perpetual transformation. Although his main field of research was (...) history, his first works dealt with theological problems. The interest of M. de Certeau begins by the analysis of mysticism as a phenomenon characteristic of the beginning of modern times. This leads him to take a broader interest in history as a set of events that cannot be reduced to a “system”. The spiritual experience of that period offers a clue to understanding current events. A significant part of M. de Certeau’s works deals with the problem of “modernity” and “everyday life”. There is a will to “think about event”. In the last part of his life, he works on the anthropology of the everyday life of “ordinary” people, in order to show the capacity they have to “invent” their existence by “tinkering” with the materials they receive. The religious dimension permeates all his work, his religious themes embrace both historical and contemporary Christianity. Christianity is for him the “religion of event”. That is why it must always remain open to meeting the other. Throughout his creativity Michel de Certeau shows a great concern for the singularity of every person, spiritual experience, interrelations with others. (shrink)

Article by Valerie Kokoszka, translated from French by Jacob Rump. -/- How is social creativity linked to habitual dispositions? This paper critiques Bourdieu’s answer to this question, which is related to his theory of habitus, against the background of its phenomenological evidences. his concept of habitual dispositions seems to be linked both to an internalisation of the performativity of habits as a form of Kantian schematism (in Husserlian terms: ‘noetization’), and to a static concept of the social environment, (...) which is never analysed in its own dynamic structural relation to the life of the bearer of habits. Through the genetic-phenomenological distinction between habits as noetic dispositions and types as noematic schemes, the paper seeks to show that the social environment cannot be presupposed as a given eld of social objectivities and norms that are stabilized by internalized habitual dispositions, but should instead be seen as an enactively framed habitat. When we further distinguish between passive and active habitualities, their intertwining comes to the fore, showing how in taking a position in relation to its own cultural environment the subject nds in the hiatus between disposition and the disposed leeway for a relative framework of spontaneity and personal cultivation, a space allowing for individual and, ultimately, social creativity that is absent from Bourdieu’s account. (shrink)

The Elementary Forms Of The Religious Life: Translated From The French By Joseph Ward Swain, M.A. This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature. In an attempt to preserve, improve and recreate the original content, we have worked towards: 1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich (...) typography, graphics, high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions. 2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work. We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING! (shrink)

La figure du chat fait son apparition dans la littérature japonaise au ixe siècle, mais son image évoluera de manière inattendue à l’époque médiévale. Des témoignages littéraires du xie et du xiie siècle, tels que les Notes de chevet de Sei Shônagon et Le Dit du Genji de Murasaki Shikibu, montraient clairement l’intérêt porté aux chats par les dames de cour. Pourtant, à partir du xiiie siècle, le félidé fera au contraire l’objet d’une forme de « diabolisation », et c’est (...) cette dimension plus inquiétante du chat que nous aimerions évoquer ici, à travers trois exemples tirés du Kokon chomon-jû, vaste recueil de contes et légendes. Cette œuvre méconnue en Europe est attribuée à Tachibana no Narisue et achevée en 1254. The figure of the cat made its appearance in Japanese literature in the 9th century, but its image evolved unexpectedly in medieval times. Literary evidence from the 11th and 12th centuries, such as the Bedside Notes by Sei Shônagon and The Tale of Genji by Murasaki Shikibu clearly showed the interest of court women in cats. However, from the 13th century, the feline became the object of a form of “demonization”, and it is this more disturbing dimension of the cat that we would like to describe here, through three examples taken from Kokon chomon-Jû, a vast collection of tales and legends. This work, unknown in Europe, has been attributed to Tachibana no Narisue and was completed in 1254. (shrink)

Yoga, Immortality and Freedom. Mircea Eliade. Translated from the French by Willard R. Trask. Arkana, London 1989.

History of Indian Buddhism. E. Lamotte, translated from the French by Sara Boin-Webb. Institut Orientaliste, Louvain-la-Neuve 1988. XXVI, 870 pp, plus 30 plates (No. XXIII on p.420), 5 maps and 7 plans. B.Fr 2175 (distrib. by Peeters Press, P.O. Box 41, 3000 Leuven, Belgium).

This text gives an account of the experience of reading Clarice Lispector’s Água Viva in the form of a brief dialogue with the text. It foregrounds the writing voice’s address of a second person and the attention this address brings to the acts of writing and reading that hold the two pronouns in relation, producing at once an infinite and nonexistent distance from being to being. The dialogue observes Lispector’s insistent return to the formulation “atrás do pensamento,” which has (...) been translated into English as “beyond thought” and can also be translated as “behind-thought” or as the background of thought, in a more spatial sense. Nancy reads the translation into French, where this spatial nuance is preserved, in consultation with Lusophone interlocutors about the specificities of the Portuguese original. The dialogue interrogates the link across this dimension, the recurrence of the pronoun it in the original Portuguese version of Água Viva, and the acts of writing and reading a text that brings awareness to a living, pulsing, ongoing, and escaping instant beyond meaning that is nonetheless the cause of the address in the first place. The dialogue follows the thread of this movement as it slips out behind thought, where Água Viva meets other books attuned to the instant and in which the dialogue’s “I” feels their vitalizing effects. (shrink)

Review of Dowek, Gilles, Computation, Proof, Machine, Cambridge University Press, Cambridge, 2015. Translation of Les Métamorphoses du calcul, Le Pommier, Paris, 2007. Translation from the French by Pierre Guillot and Marion Roman.

In lieu of an abstract, here is a brief excerpt of the content:Oxymorons of AnxietyOr the Influence of Baba Ram Dass on Harold BloomRichard Klein (bio)A REVIEW OF Harold Bloom. The Anxiety of Influence (New York: Oxford University Press, 1973).In 1974, when I initially submitted this article to diacritics, it was rejected, despite my being a member of the editorial board. I had previously agreed that the piece should first be sent to Harold Bloom for his reaction; he was not (...) pleased. The editor (and founder of diacritics) judged, I think correctly, that it was better to have Bloom well disposed toward the young journal than not. He had been very generous, since its inception, giving us articles and interviews, and lending his weight to this early attempt to translate French theory into America. I was naturally deflated by the rejection, but since I believe in institutions more than individuals, I acquiesced, gracefully I think. Perhaps I shouldn't have. It has been forty years and in that time Bloom has grown even more dismissive of major theoretical developments and contemptuous of efforts to expand the canon. In his latest work, his "virtual swan song," The Anatomy of Influence: Literature as a Way of Life (2011), he evokes the critical developments long championed by this journal, which have evolved over forty years, and lumps them together as: "what I shall call the New Cynicism (a cluster of critical tendencies which are rooted in French theories of culture and encompass the New Historicism and its ilk)."1 Note the ilk: making alike, in a single cluster of cynicism, what he will not differentiate. Currently, he is motivated to return to his earlier work on influence, "galvanized in part by the New Cynicism's reductio of all literary relationships to base self-interest."2 In The Anatomy of Influence, Bloom returns to the Bloom of The Anxiety of Influence to find and redefine a canonical interpretation of literary relationships that depends from his immense erudition. Against the cynics, he is excited by a nobler, disinterested perspective—a view more universally shared than what might be found, for example, in the pages of diacritics.In any case, I always hoped this article, excerpted from a much longer chapter, would one day be published. I didn't think the moment would wait forty years and for my retirement. For allowing this to see the light and for their kind indulgence of my valedictory vanity, I especially want to thank my colleagues deeply, as well as the editors of the new diacritics.Harold Bloom brings bad news. Geoffrey Hartman calls him a kakangelist; he calls himself a necromancer.3 The news is the death of poetry—an event, as Bloom at moments seems to believe, that began with Milton. Since then, things have only gotten worse and are no way bound to improve. What Bloom is saying may well be no news at all, if poetry in fact and in principle has always been dying, if its death were simultaneous with its birth—its possibility permanently implicated in its impossibility. But, if not what the man is saying, surely the way he kakangelizes, raises the most surprising questions about the possibility of something he continues to want to call "literary criticism." Hartman's carefully poised review neglects to insist on the question of Bloom's style. His opening sentence, however, does proceed straight to enumerate—with no further comment—the unwonted diversity of elements that compose Bloom's short theory of poetry: "Six essays emerge from this dense, eloquent and experiential brooding, flanked by two prose poems, and accompanied by a synoptic introduction and an interchapter on 'Antithetical Criticism.'"4 Hartman pretends to take all this perfectly for granted, as if we were quite prepared to understand, with no explanation, the nature and necessity of something called a synoptic introduction, or the status of an interchapter, or the force of a notion like [End Page 7] antithetical criticism, and, as if we should hardly be surprised to discover, the whole thing quite naturally flanked by two prose poems! Hartman picks up the new style, but for reasons not clearly readable in his text, chooses not to dwell on this most surprising news of... (shrink)

Samkhya is one of the oldest, if not the oldest, system of classical Indian philosophy. This book traces its history from the third or fourth century B. C. up through the twentieth century. The Encyclopedia as a whole will present the substance of the various Indian systems of thought to philosophers unable to read the Sanskrit and having difficulty in finding their way about in the translations (where such exist). This volume includes a lengthy introduction by Gerald James Larson, (...) which discusses the history of Samkhya and its philosophical contours overall. The remainder of the book includes summaries in English of all extant Sanskrit texts of the system. Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)