Analyses of Honoré de Balzac's literary works and their ethical issues, especially concerning his critique of French society and its morals of the 19th century.

The focus of this paper is the intertextual relationship between the work of François Truffaut and that of Honoré de Balzac. It explores Balzac's influence on the shaping of Truffaut's voice and argues that Balzac's Human Comedy served Truffaut as a model for some of his cinematic innovations. This applies to Truffaut's total oeuvre, but particularly to his series of autobiographical films, “The Adventures of Antoine Doinel”: The 400 Blows (Les Quatre Cents Coups, 1959), Antoine and Colette, Love at (...) Twenty (Antoine et Colette, L'Amour à Vingt Ans, 1962), Stolen Kisses (Baisers Volés, 1968), Bed and Board (Domicile Conjugal, 1970), Love on the Run (L'Amour en Fuite, 1979). In examining Truffaut's “rewriting” of Balzac, I adopt—and adapt—the intertextual approach of Harold Bloom's theory of the “anxiety of influence.” My paper applies Bloom's concept of misreading to an examination of the relationship between Truffaut's autobiographical films, and Balzac's Human Comedy, both thematically and structurally. (shrink)

This study explores Honoré de Balzac’s iconic representation of artistic creativity in The Unknown Masterpiece by focusing on an unexamined aspect of his text, namely the seminal role played by critical reception and consumption in artistic production. This influential tale is examined in terms of its artistic and philosophical contributions to reenvisioning creativity by modern and postmodern critics and thinkers. Challenging the ideology of the artist as creative genius, this analysis targets the processes, labor and materials of artistic production (...) and its relations to critical consumption. At issue is the expressive potential of the art work in its creative capacities to bring about the new, to happen and make things happen. (shrink)

In his classic Mimesis: The Representation of Reality in Western Literature, Erich Auerbach famously cites the opening pages of Honoré de Balzac’s Père Goriot as emblematic of modern realism. With their minute description of the boardinghouse, where much of the novel’s action takes place, these pages emphasize physical setting, Auerbach argues, in a way new to Western literature. Yet Balzac’s descriptions are driven by something more than an ambition to represent “contemporary life” in scrupulous detail. In Auerbach’s view, the (...) characteristic element of Balzac’s realism is an obsession with the reciprocal action of characters and milieu, a scientific or philosophical principle according to which the quality... (shrink)

I am not trying to present a full concept of professional ethics of an academic. I would like to focus on philosophical and ethical reflection of the specific area of an academic work in Slovakia. Almost two hundred years ago, the Slovak enlightenment philosopher Ján Feješ (1764 - 1823) responded to the situation of his era and he stated that a reviewer must, in the given area, be even better educated than the author himself. A different example can be found (...) in Honoré de Balzac’s great novel Lost Illusions where he also described journalistic practice of the first half of the 19th century. Part of the novel was based on his own experience with acrimonious critique. The situation concerning, for example academic reviewing in Slovakia in the present day is, possibly in some instances, even more critical than Feješ or Balzac suggested. This no longer concerns the quality of papers and book of essays but the number of works published; and evaluation of academics is partly dependant on whether they have published in a reviewed or a non-reviewed book, indexed journals, worldly known publishers, etc. There has to be a just requirement placed on critical reviews, as Feješ and others cautioned, and that is that they should not be informative reviews only for the sake of someone getting a reviewed work but truly critical reviews from people qualified in the given area of academic subjects and the aim of which should not lie in settling scores or expressing personal preferences but a constructive view of the issue. The problem in Slovak academic community (especially in humanities and social sciences), however, lies in the fact that critical reviews are not considered a challenge for discussion or polemics but are shifted to the personal level including settling scores with the critical reviewer. Quoting and referencing is another problematic area in Slovak academic life, which, in the present period, has almost become a fetish, as it is a criterion of qualification enhancement and evaluation of academics. That is why quotations and references are artificially made for colleagues, friends and acquaintances, or even already published works are faked to contain quotes and references for the needs of future qualification enhancement. To summarise, I would like to propose three aims which could become a part of professional ethics of the academics (in Slovakia). (shrink)

Un ouvrage de Gaston Pineau, intitulé Produire sa vie. Autoformation et autobiographie a mis Bernard Honoré en chemin d'une réflexion sur le double enracinement de la formation en soi-même (autoformation) et hors de soi, par les autres et par l'environnement (hétéroformation). Ce chemin l'a amené à voir dans les histoires de vie un important courant de recherche méthodologique dans la découverte du sens de la formation en ses diverses pratiques. Puisse ce livre amener le lecteur sur une voie réflexive (...) analogue, le conduisant à explorer le sens des pratiques formatives dans lesquelles il est engagé. L'expérience d'une ouverture à la dimension existentielle de la formation par la pratique des histoires de vie, en référence à 1'autoformation, devrait inciter à questionner le sens d'un parcours en formation. (shrink)

Pour comprendre l'oeuvre de Teilhard de Chardin, qui aura tant innové, il convient de ne pas s'arrêter à quelques textes. Une lecture ininterrompue de tous les écrits de Teilhard, du début à la fin, s'avère indispensble, souligne B. Honoré, psychiatre et philosophe.

Fredric Jameson is the most challenging American Marxist hermeneutical thinker on the present scene. His ingenious interpretations (prior to accessible translations) of major figures of the Frankfurt School, Russian formalism, French structuralism and poststructuralism as well as of Georg Lukàcs, Jean-Paul Sartre, Louis Althusser, Max Weber and Louis Marin are significant contributions to the intellectual history of twentieth century Marxist and European thought. Jameson's treatments of the development of the novel, the Surrealist movement, of Continental writers such as Honoré (...) de Balzac, Marcel Proust, Alessandro Manzoni, and Robbe Grillet, and of American writers, including Ernest Hemingway, Kenneth Burke and Ursula LeGuin, constitute powerful political readings. Furthermore, his adamantly anti-philosophical form of Marxist hermeneutics puts forward an American Aufhebung of poststructuralism which merits close scrutiny. (shrink)

Naturalism is a term that stands for a family of positions that endorse the general idea of being true to, or guided by, “nature”, an idea as old as Western thought itself (e.g. Aristotle is often called a naturalist) and as various and open-ended as interpretations of “nature”. Since the rise of the modern scientific revolution in the seventeenth century, nature has increasingly come to be identified with the-worldas-studied-by-the-sciences. Consequently, naturalism has come to mean a set of positions defined in (...) terms of the scientific image of nature or the methods of scientific inquiry. In this brief article I shall focus upon explicating three versions of scientific naturalism: 1) naturalism in the arts especially literature; 2) philosophical naturalism; and 3) naturalism in the social sciences. These different naturalisms correspond to different ways of appealing to science, whether it be adopting a scientific stance towards human and social life, or a broadly empirical approach to inquiry in general, or a scientific worldview. Naturalism in field of the arts refers to art that depicts everyday subjects in a ‘realistic’ manner, one free from stylisation, idealization or academic convention. Although the term has been used to describe a style of painting since the late seventeenth century (e.g. Caravaggio’s), it only became an important term of art criticism in the nineteenth century, Gustave Courbet being one of the leading examples. Naturalism as a literary category was first applied to a genre of French fiction exemplified by Emile Zola, which builds on the anti-romantic ‘realist’ fiction of Gustav Flaubert and Honoré de Balzac, writers who deliberately adopt a scientific – that is, detached and objective -- approach to human life. The vision of the human depicted in naturalist literature owes much to a picture of the world suggested by Darwin’s theory of evolution: a purposeless, Godless world of competitive striving where the notion of free will is treated with suspicion.. (shrink)

Pour l'auteur, les oeuvres de Heidegger et de Teilhard de Chardin entrent en résonance et font évoluer les modalités de la pensée et de la foi. Il est alors possible de penser et de croire à un humanisme humanisant.

This essay discusses certain problems raised by Edmund Husserl’s conception of meaning with regard to the analysis of aesthetic experience. By referring to Jacques Derrida’s critique of phenomenological idealism I show that the metaphor of “stratification”, adopted by Husserl in his “Ideas” to a problem of discursive expression, if applied to the analysis of a work of art i.e. painting, allows to avoid the objection of “metaphysics of presence” commonly raised towards the phenomenological method.To present the major issue from the (...) perspective of artistic practice, I interpret Honore de Balzac’s short story “Chef-d’oeuvre inconnu”. In conclusion I show that aesthetic consciousness establishes an affective and receptive dimension that is no longer logocentric. This is the main reason why modern phenomenology should focus on the problem of aesthetic experience. (shrink)

Franciscus Van den Enden is commonly considered as the man who taught Latin to B. de Spinoza. It is unknown if he actually taught him something else, but we do know he used a pedagogy of his own and made the young philosopher aware of the importance of pedagogical issues. The present article helps to document their relationship from a historical and theoretical perspective, by clarifying Van den Enden’s ideas on a most debated subject: the use of honorary titles to (...) distinguish pupils in the classroom. In particular, it shows how the rejection by Van den Enden of titles commonly used in Jesuits schools finds echoes in Spinoza’s philosophy. At the same time, the article argues that through their common participation in theatrical plays, Van den Enden and Spinoza shared a pedagogical experience that helped to overcome the problems linked to the introduction of a hierarchy, not theoretically, but in practice. (shrink)

Montesquieu, « Newton du monde humain », fondateur d’une physique sociale, qui aurait le premier appliqué la méthode scientifique aux phénomènes humains et mis en évidence leur rationalité : ce jugement a été largement utilisé pour revendiquer l’auteur de L’Esprit des lois comme fondateur des sciences sociales. Son intérêt constant pour les sciences, ses lectures, ses activités académiques et ses propres expérimentations n’auraient pu qu’inspirer un modèle scientifique à ses écrits philosophi..

Dans quelle mesure, et de quelle manière, la confrontation d’un texte à un corpus en modifie-t-elle l’analyse? Symétriquement, de quelle approche du texte la constitution d’un corpus est-elle tributaire? L’exemple du projet éditorial de L’Astrée, aux deux volets complémentaires (édition critique / site internet), permet d’ébaucher quelques réponses à ces questions qui engagent tout autant une méthodologie qu’un arrière-plan épistémologique. Cette contribution se réclame d’une philologie actualisée, soucieuse de tenir compte des nouveaux espaces de dialogue entre linguistique et littérature.

Une œuvre majeure de Christine de Pizan vient de faire l'objet d'une édition : Le Livre de l'Advision Christine dont Liliane Dulac et Christine Reno ont établi le texte, précédé d'une longue et précieuse introduction. Événement éditorial de premier ordre, l'édition antérieure (en 1932) ne pouvant satisfaire aux exigences des médiévistes et plus largement de ceux qui s'intéressent à la voix des femmes au Moyen Âge. Dans le parcours de l'écrivaine, l'Advision, œuvre de maturité, associe...

This paper aims first and foremost to unravel and clarify an interesting 17th century controversy around superposition in projectiles, which allegedly existed between the French Jesuit Honoré Fabri and the Italian physicist and astronomer Giovanni Alfonso Borelli. This conflict – initially described by the English mathematician John Wallis in a letter from 1670 to the secretary of the Royal Society – has been erroneously identified with Fabri's Dialogi physici (1669), a work written in response to Borelli's De vi percussionis (...) (1669). In fact, this “conflict” was nothing but Wallis's account of a contradiction between Borelli's above mentioned work and Fabri's Tractatus physicus de motu locali from 1646, while Fabri's 1669 work expressed views very different from those contained in his Tractatus physicus. I will try here to reconstruct Fabri's change of heart between 1646 and 1669 concerning projectiles and superposition, while tracing the real bone of contention between (the later) Fabri and Borelli – superimposing contrary motions – to its Aristotelian origins. My analysis will lead me to problematize the way modern historians usually interpret the relation between Aristotle's physical thinking and projectile theories of early modern theoreticians (e.g. Nicollò Tartaglia's). (shrink)

This article considers the changing relationship between Balzac and theory from the 1970s onwards when Balzac was a favoured, if disparaged, object of theorization, as in Barthes's S/Z. More recent critics, however, see the multi-layered énonciations of/in his texts as evidence of their ability to theorize their own relationship to history, society, sexuality — and literature. In the same way, moreover, as texts such as Sarrasine and Une passion dans le désert critique their own relation to literature, ostensibly theoretical Balzac (...) texts such as Une théorie de la démarche turn theory into a form of fiction. Whether moving from literature to theory or from theory to literature, Balzac — or ‘Balzac’/Balzac — is thus shown to be a nexus of literature, theory and literary theory. (shrink)

Vers la fin du XVIIe siècle, les dictionnaires expriment bien l’embarras général devant le terme « sensation ». Ainsi Furetière, en 1690, définit la sensation comme « Action des sens, ou plutôt de l’âme, qui est émue par les impressions qu’ils ont souffertes. La plus grande difficulté de la Philosophie, poursuit-il, est d’expliquer la sensation, comment les objets corporels peuvent agir sur l’âme qui est spirituelle. » Quatre ans plus tard, le dictionnaire de l’Académie française exprime lui ..

L’ouvrage d’Emilie Née, qui vient de paraître dans la collection Essais d’Honoré Champion, se présente comme un précis d’analyse du discours à entrée lexicale. L’auteure, s’appuyant sur un travail doctoral soutenu en 2009, et sur plusieurs publications antérieures, décline tout un savoir théorique et pratique pour faire parler un corpus discursif construit autour d’un mot unique : « insécurité ». Largement instrumentée par l’outil informatique et statistique d’une part, et par l’appareillage...