In the quest for identity and healing, what belongs to the humanities and what to clinical psychology? Ginette Paris uses cogent and passionate argument as well as stories from patients to teach us to accept that the human psyche seeks to destroy relationships and lives as well as to sustain them. This is very hard to accept which is why, so often, the body has the painful and dispiriting job of showing us what our psyche refuses to see. (...) In jargon-free language, the author describes her own story of taking a turn downwards and inwards in the search for a metaphorical personal 'death'. If this kind of mortality is not attended to, then more literal bodily ailments and actual death itself can result. Paris engages with one of the main dilemmas of contemporary psychology and psychotherapy: how to integrate findings and insights from neuroscience and medicine into an approach to healing founded upon activation of the imagination. At present, she demonstrates, what is happening is damaging to both science and imagination. (shrink)

This paper has been translated from the French by Cosmin Toma. It focuses on Jacques Derrida's very last lecture, given in Rio de Janeiro, on the 16thof August 2004, which Derrida drew from his ‘Le parjure et le pardon’ (‘Perjury and Forgiveness’) seminar held at the École des hautes études en sciences sociales (EHESS), in Paris, from 1997 to 1999. In reference to this final lecture in which Derrida deals with ‘forgiveness,’ ‘truth’, ‘reconciliation’, ‘testimony’ and ‘genre’, the paper also (...) takes up the question of justice as well as of what he calls the ‘worst violence’ via testimonial writings by Sarah Kofman and Antjie Krog so as to rethink forgiveness. (shrink)

Avec trois entretiens de Jean-Luc Nancy Cosa volante : l'art n'est ni un objet, ni un ensemble de composantes formelles, encore moins schème et substance. L'art les arts plutôt, dans leur pluralité différentielle élève la question d'une forme en formation. Cette forma formans traverse de part en part la pensée des arts de Jean-Luc Nancy où importe surtout l'approche de ce qui, dans l'art, fait sens (sensibilité, intelligence, sensation, sensualité). A travers touches, intensités, vibrations, timbres, tonalités, colorations, grains, résonances, rythmes, (...) il s'agit de voir comment les arts donnent forme au monde. Cet ouvrage explore plusieurs motifs du travail de Nancy : sa réflexion sur l'iconologie "chrétienne" au sein de sa "déconstruction du christianisme", la question de ses "étranges corps étrangers", les modalités de ses ekphraseis, sa poétique cinétique, entre autres. Trois entretiens avec le philosophe constituent des moments privilégiés de cet échange autour de la question de l'art. (shrink)

"La poétique de Celan- a profondément incisé la réflexion de Derrida, lui devenant indispensable pour repenser les questions de la date, de la crypte et du secret. De Schibboleth à Béliers et à son dernier séminaire, La bête et le souverain, Derrida s'est aussi intéressé au poème celanien comme lieu d'une souveraine solitude, d'une souveraineté autre, peut-être, quand il parle de lui-même. Cet essai tente d'analyser la portée du deuil et de la dette contractée par le philosophe à l'endroit du (...) poète. De la rencontre entre Celan et Derrida, nulle archive ne saura témoigner. Le verbe "témoigner" évoque une sorte de mot de passe secret entre eux : "Niemand/ zeugt für den/ Zeugen" et "Die Welt ist fort, ich muss dicte tragen". Ces deux vers, Jacques Derrida incitait ses lecteurs à les apprendre par coeur pour deux raisons : d'abord, pour méditer sans fin le rapport à la langue, à l'idiome plutôt, de Celan, creusant, enibuissant, retournant sa langue dans la langue allemande ; ensuite, pour mesurer relever, dit Derrida la nécessaire et impossible épreuve de la traduction, cette question qui est non seulement l'un des enjeux les plus importants de la "déconstruction" mais aussi le foyer d'une éthique de la lecture."--Page 4 of cover. (shrink)

The question of the foreigner remains, as is well known, a pressing issue, now more than ever, even as “we allow the intolerable to happen : not just death, suffering, deportation, nameless woe, but also the imbecilic destruction of Europe and the Mediterranean’s chances in the new world to come,” as Jacques Derrida already noted in August 1995. This article retraces his seminars and public interventions as he calls for another concept of hospitality, thus wresting it away from fantasies of (...) blood and autochthony, even from the notion of a common language. Indeed, his emphasis on hostipitality gives rise to another experience of citizenship and of the political, of responsibility before the other. Lastly, the relationship between unconditional hospitality and non-knowledge also helps explain why a politics that tries to measure up to it necessarily implies poetic invention. More so than other aspects (geopolitics, urban planning, social work, international law) that are affected by the problem of hospitality, hospitality’s poetic dimension may well reveal itself to be the most crucial of all. (shrink)

This article studies the material production and consumption of the national community in 19th-century America. More particularly, it concentrates on the intersection between particular technologies of transportation, representation and dissemination in the spatial and imaginary formation of the American nation in the 1860s. Through an analysis of the contradictory mechanism of placement and displacement, identity and difference at the heart of a particular state-sanctioned field of national production the construction of America's first transcontinental railroad in 19th-century California the essay highlights (...) what tends to remain hidden in narrowly defined `cultural' (textual) approaches to nationhood: its involvement in racial, gendered and class-related divisions between private and public space, home and travel, labour and capital, technology and nature. (shrink)

This article examines the relationship that Jacques Derrida and Sarah Kofman developed throughout their lifetimes, both as close friends and as philosophers who shared many common research interest...

"L’écriture philosophique de Sarah Kofman a eu pour enjeu « la vie comme texte ». De L’enfance de l’art (1970) à L’imposture de la beauté (1995, posthume), la philosophe a exploré cette question dans un geste de lecture audacieux par lequel elle confronte philosophes anciens (Empédocle, Héraclite, Platon), modernes (Descartes, Kant, Rousseau, Kierkegaard, Comte, Marx) et contemporains (Sartre, Blanchot, Derrida). Sarah Kofman convoquait aussi dans toutes ses analyses deux interlocuteurs privilégiés, Freud et Nietzsche. La littérature, l’idéologie, le féminin, le rire, (...) les rapports à l’art et à la psychanalyse, l’autobiogriffure furent les « voies de traverse » par lesquelles celle qui, enfant, avait survécu à la Shoah, reconduisit la philosophie « au cœur de la vie ». Plus de vingt-cinq ans après la parution de Rue Ordener, rue Labat et du Mépris des Juifs en 1994, n’est-il pas temps de prendre la mesure de cette œuvre philosophique?Cet ouvrage réunit, dans une perspective transdisciplinaire et internationale, philosophes, littéraires, historiens, historiens de l’art et psychanalystes autour du travail de la philosophe. Multipliant les approches et les interprétations, faisant droit aux questions historiographiques et archivistiques liées à son œuvre, ces lectures entendent donner toute son actualité critique à la voix unique de Sarah Kofman."--Page 4 de la couverture. (shrink)

Reasoning under uncertainty, that is, making judgements with only partial knowledge, is a major theme in artificial intelligence. Professor Paris provides here an introduction to the mathematical foundations of the subject. It is suited for readers with some knowledge of undergraduate mathematics but is otherwise self-contained, collecting together the key results on the subject, and formalising within a unified framework the main contemporary approaches and assumptions. The author has concentrated on giving clear mathematical formulations, analyses, justifications and consequences of (...) the main theories about uncertain reasoning, so the book can serve as a textbook for beginners or as a starting point for further basic research into the subject. It will be welcomed by graduate students and research workers in logic, philosophy, and computer science as a textbook for beginners, a starting point for further basic research into the subject, and not least, an account of how mathematics and artificial intelligence can complement and enrich each other. (shrink)

Son histoire l'a prouvé, le roman tient à deux mondes divergents, qu'il met en lutte autant qu'il les rapproche : celui de la réalité et celui des fictions imaginées par ses personnages. Mais lorsque les rêves des personnages tendent à se confondre avec la réalité, le roman n'atteint-il pas les limites de son action? De cette frontière témoignent tout particulièrement les œuvres romanesques du XIXe siècle. De Balzac à Zola, de Flaubert à Proust, le personnage réaliste rêve des fictions toujours (...) plus ténues qui lui font perdre ses contours et vont jusqu'à le rapprocher des figures de plus en plus abstraites exposées par la peinture de la même époque. Parvenu à ce point critique, le roman doit trouver les moyens de se poursuivre : passage fascinant, analysé ici par Isabelle Daunais à la lumière de ce qu'elle appelle une histoire interne du roman. A travers le roman réaliste, c'est ainsi l'œuvre générale du roman qu'elle éclaire sous un angle nouveau. (shrink)

This paper concerns the question of how to draw inferences common sensically from uncertain knowledge. Since the early work of Shore and Johnson (1980), Paris and Vencovská (1990), and Csiszár (1989), it has been known that the Maximum Entropy Inference Process is the only inference process which obeys certain common sense principles of uncertain reasoning. In this paper we consider the present status of this result and argue that within the rather narrow context in which we work this complete (...) and consistent mode of uncertain reasoning is actually characterised by the observance of just a single common sense principle (or slogan). (shrink)

Linda Zagzebski recently put forward a new theory, moral exemplarism, that is meant to provide an alternative to theories like consequentialism and deontology, and which proposes to define key moral terms by direct reference to exemplars. The theory’s basic structure is straightforward. A virtuous person is defined as a person like that, where that points to individuals like Leopold Socha, Confucius, Jesus Christ, and so on. A key component of this theory is the function played by the emotions, specifically the (...) emotion of admiration, which helps us identify moral exemplars, inspires our emulation of them, and grounds moral motivation. In other words, admiration tracks persons like that. The aim of this article is to show that unless moral exemplarism recognises and incorporates an aesthetic dimension to morality, as did, for instance, eighteenth-century sentimentalists by recognising the categories of moral beauty and ugliness, the theory suffers important theoretical difficulties, whilst failing to yield some of the theoretical merits that it boasts. To this end, I will cast doubt on the prominent role accorded to the emotion of admiration for morality, arguing that it has to either be qualified as a specific kind of admiration––namely that which takes the beautiful as its object––or be replaced altogether with the affective response to the beautiful, a mark of which is pleasure or delight in the contemplation of an object. In short, an aesthetics of character is necessary in order to properly theorise the affective and motivational components of morality under an exemplarist framework. (shrink)

I offer a set of sufficient conditions for beauty, drawing on Parsons and Carlson’s account of ‘functional beauty’. First, I argue that their account is flawed, whilst falling short of...