First surprise! You make the brain itself into an idea, and consequently, also the five senses and the whole body. Thus you can no longer talk about sensations; that would be saying that a great idea, an idea of specific dimensions or an infinite number of small ideas, however you feel like explaining it to us, becomes the vehicle that seizes all other ideas, except of course yours, which finds no place there and doesn’t come up [to the mind].

Nicolas Asselin,Stéphanie Audet,Eric Crégheur,Julio Cesar Dias Chaves,Gavin McDowell,Charles-Frédéric Murray,Louis Painchaud,Paul-Hubert Poirier,Maryse Robert,Philippe Therrien.

En posant avec clarté des questions de philosophie de l’esprit, d’ontologie et d’épistémologie, ce livre témoigne à la fois de l’intérêt réel de la danse comme objet philosophique et du rôle unique que peut jouer la philosophie dans une meilleure compréhension de cet art. Qu’est-ce que danser ? Que nous apprend le mouvement dansé sur la nature humaine et la relation entre le corps et l’esprit ? À quelles conditions une œuvre est-elle correctement interprétée par les danseurs et bien identifiée (...) par les spectateurs ? (shrink)

Analyse: Contient un chapitre sur Francis Giauque et une évocation de Henri-Frédéric Amiel.

Spectrality has always been a threat to order, to the logic of difference and binary opposites — a threat therefore to the classic law of ontology, which deconstructionist thinkers and writers have consistently sought to subvert, prominently among them Jacques Derrida and Hélène Cixous. While also engaging in an implicit dialogue with Louis Althusser's theory of ‘interpellation’, Cixous and Derrida have reinvented the psychoanalysis of gender-production through their reading of each other. Spectrality is for them an injunction to preserve (...) otherness and safeguard the presence/absence of what in fact does not yet exist, the almost unnameable which pushes at the boundaries of language and thought, and whose mystery writing aspires to attend to. Burials should not thus be performed according to established practice: they must be faulty. (shrink)

The ArgumentEtienn-François Geoffroy' Table des Rapports is generally regarded as a landmark in the evolution of chemistry during the eighteenth century. Issues have arisen among historians concerning the significance and originality of the Table that require fuller attention to the immediate context of chemical research in the Academie des sciences during the two decades that preceded its appearance. The present paper argues that, despite the transition from communal to individual research projects that marked the reorganization of the Academy in 1699, (...) chemists continued to pursue shared problems within a communal ethos. The interactions between Wilhelm Homberg, Etienne-François Geoffroy, and Louis Lemery were particularly prominent. The paper traces one example of this interaction, involving the sulfur principle and its influence on one entry in Geoffroy's Table. Further such studies are needed to elucidate the relation between the concepts of chemical composition and reactions implied in Geoffroy's table and the concepts embodied in the previous work of Geoffroy and his associates in the Academy. (shrink)

Explores the role and influence of walking in the lives of such thinkers as Kant, Rousseau, Nietzsche, Robert Louis Stevenson, Gandhi, and Jack Kerouac.

Buddhism was not really known in the West until a little more than 150 years ago. Although since the thirteenth century there had been numerous contacts with local Buddhist traditions, the travellers and missionaries of the Middle Ages and the Renaissance had not yet brought to light the history of Buddhism and its unity across this immense diversity of worship and doctrine, disseminated through most of the countries of Asia. Of course, since the seventeenth century some Europeans had guessed at (...) the Indian origin of the Buddha and they succeeded in pinning down his historical existence after a fashion. In 1691 and 1693 Simon de la Loubère, Louis XIV's envoy at the court of the king of Siam, published remarkable research which established the possibility of a link between the different regions of Siam, Ceylon, Japan and China and conjured up the possible existence of a single founder long before Christ. But this far too isolated knowledge had scarcely any impact in Europe. It was only with the foundation of the Asiatic Society of Bengal in 1784 that orientalism was to enjoy a rapid and decisive expansion. The word ‘Buddhism’ appeared from the 1820s onwards, and with it the first conceptualization of a tree with many branchings. But it was not until the publication, in 1844, of Eugène Burnouf's magisterial Introduction l'histoire du buddhisme indien, that more detailed knowledge became available, thanks to a critical scrutiny of the most varied sources. The works of the French scholar and of other pioneers in Buddhist studies - mainly Alexander Csoma de Koros and Edmond Foucaux on Tibet, Jean-Pierre Abel-Remusat and Stanislas Julien on China, Christian Lassen and Spence Hardy on Ceylon - were to give rise to a tremendous craze for Buddhism in Europe. Since then there has been no break in the successive waves disseminating it right up to the present day, when the majority of Western countries appear to be so receptive to the message of the Buddha that for some years the media have been insistently questioning the reasons for this ‘Buddhist wave’. (shrink)

Louis Frédéric Ancillon was a member of the Prussian Academy of Sciences and Belles Lettres whose imagined dialogue between Berkeley and Hume was read to the Academy in 1796 and published in 1799. It is important as an indicator of the reception of Hume and Berkeley in francophone philosophical circles in late eighteenth-century Prussia. Our introduction is followed by an English translation with notes.

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)

Dans le silence qui entoure la question du temps et des temporalités dans l’espace oriental, l’ouvrage Les Ottomans et le temps constitue une contribution novatrice et précieuse. On ne peut que regretter qu’il ait fallu attendre près de dix ans pour prendre connaissance des résultats de travaux commencés dès 2003-2004 dans le cadre d’un séminaire de l’École des hautes études en sciences sociales, inscrit dans la continuité du travail fondateur de Louis Bazin sur Les systèmes chronologiques d..

La logique de Leibniz: d'apres des documents inedits / par Louis Couturat,...Date de l'edition originale: 1901Sujet de l'ouvrage: Leibniz, Gottfried Wilhelm (1646-1716)Logique moderneCollection: Collection historique des grands philosophesCe livre est la reproduction fidele d'une oeuvre publiee avant 1920 et fait partie d'une collection de livres reimprimes a la demande editee par Hachette Livre, dans le cadre d'un partenariat avec la Bibliotheque nationale de France, offrant l'opportunite d'acceder a des ouvrages anciens et souvent rares issus des fonds patrimoniaux de la (...) BnF.Les oeuvres faisant partie de cette collection ont ete numerisees par la BnF et sont presentes sur Gallica, sa bibliotheque numerique.En entreprenant de redonner vie a ces ouvrages au travers d'une collection de livres reimprimes a la demande, nous leur donnons la possibilite de rencontrer un public elargi et participons a la transmission de connaissances et de savoirs parfois difficilement accessibles.Nous avons cherche a concilier la reproduction fidele d'un livre ancien a partir de sa version numerisee avec le souci d'un confort de lecture optimal. Nous esperons que les ouvrages de cette nouvelle collection vous apporteront entiere satisfaction.Pour plus d'informations, rendez-vous sur www.hachettebnf.frhttp: //gallica.bnf.fr/ark: /12148/bpt6k110843d. (shrink)

It is widely assumed that G. E. Moore was either oblivious or indifferent to circularity worries surrounding his enigmatic proof of an external world. I argue that this assumption is false. Drawing on unpublished archival evidence and overlooked passages in Moore’s posthumously published lectures, I provide, for the first time, an account of Moore on circular proof. I show that, as early as 1928–29 and as late as 1938–39, Moore identified an “important” and “unimportant” sense of begging the question (epistemic (...) circularity and premise circularity, respectively) and maintained that a genuine proof should avoid both forms. Curiously, however, this standard is not upheld in his 1939 “Proof,” where this “important” sense is conspicuously absent from Moore’s discussion. This discrepancy raises an interpretative puzzle: Why does Moore’s standard for proof change? I provide an answer and explore its philosophical implications, clarifying the paradoxical nature of the proof and re-diagnosing the sense of intellectual dissatisfaction experienced by many commentators. (shrink)

Montesquieu: politics and history.--Rousseau: the social contract.--Marx's relation to Hegel.

In lieu of an abstract, here is a brief excerpt of the content:Grand Manner Aesthetics in LandscapeFrom Canvas to CelluloidEmily E. Auger (bio)Popular films about the environment and related human and material resource issues, particularly colonialism, tend to enhance the appeal of their subject matter by aesthetically transforming it according to audience preferences and tastes. Such mediating strategies are perhaps too familiar to contemporary artists of all types who would prefer to work beyond the limits of what their readers or (...) viewers are prepared to tolerate as entertainment, but the particular emphases and accommodations made by film artists to convey messages about the environment are little changed from those strategies used by painters over the past three centuries to a similar end. The methods by which environmental issues are aestheticized in late-twentieth-century film is directly and historically related to those established for grand manner painters by Nicholas Poussin (1594-1665) and taught at the French academy from the seventeenth through the nineteenth centuries. That these fundamentals were part of the training of artists who would be willing and able to enhance the glory of Louis XIV's absolutist monarchy seems not to have undermined the popular enthusiasm their association with the "classical" past generated outside of France. Thus, the grand manner ideal was repeated, elaborated, and adapted by subsequent British and American artists, teachers, and aestheticians, both amateur and professional, including Joshua Reynolds (1723-92), president of the British academy; theoretician Edmund Burke (1729-97); and such American painters as Benjamin West (1738-1820), Thomas Cole (1801-48), Frederic Church (1826-1900), and Albert Bierstadt (1830-1902).Examples of filmic adaptations of grand manner aesthetics considered here include English director John Boorman's The Emerald Forest (1985) and Anglo-French director Roland Joffé's The Mission (1986), both British productions; Kevin Costner's Dances with Wolves (1990) and John McTiernan's [End Page 96] Medicine Man (1992), both American productions with American directors; and Australian director Bruce Beresford's Black Robe (1991), a Canadian/Australian production based on Irish-born, Canadian novelist Brian Moore's best-selling novel of the same title (1985). While it might be argued that these films merely show the adaptation of academy-based grand manner ideals and principles to new imperialist interests, this article demonstrates how they educate and draw public sympathy to global environmental concerns, albeit with reference to a recognizably Western aesthetic tradition. Thus, the interest of this study to educators and students of the visual arts is twofold: first, it demonstrates the continued adaptation and application of aesthetic principles originally developed in the seventeenth century to a technology-based medium; and second, it shows how those aesthetic principles are currently applied in film to direct and modulate public opinion on matters well beyond the domain of pure or theoretical aesthetics.The grand manner aesthetic, first defined with reference to seventeenth-century painting and still apparent in twentieth-century film, is largely attributable to Poussin since he was an artist who wrote—and wrote well—about his understanding of artistic quality and priorities. He was deeply committed to classicism; he thought the elements of a painting should be idealized rather than realistic and particularized, that those elements should be clearly delineated in a linear manner, that exotic subjects and excessive color should be avoided as both appeal too much to the senses and not enough to the mind, and that figures should always predominate over landscape. Poussin's ideals became the model for students training at the French Academy, an institution officially formed in 1648 under the direct control of the government. Aspiring academicians were exhorted to produce images that were usually composites of the better, and sometimes imagined, aspects of the appearance, character, and deeds of the fictional and historical people, events, and locations that were their subjects. They were never allowed to forgot the hierarchy of value that placed genre painting forever below history painting, yet it cannot have escaped their notice that a certain number of well-executed examples of the lowly still life, domestic interior, and picturesque landscape on the exhibition walls made the "grandness" of more ambitious works more apparent by contrast.The French Academy soon became the envy of foreign upper-level bureaucrats cognizant... (shrink)

A lively and accessible history of Modernism, _The First Moderns_ is filled with portraits of genius, and intellectual breakthroughs, that richly evoke the _fin-de-siècle_ atmosphere of Paris, Vienna, St. Louis, and St. Petersburg. William Everdell offers readers an invigorating look at the unfolding of an age. "This exceptionally wide-ranging history is chock-a-block with anecdotes, factoids, odd juxtapositions, and useful insights. Most impressive.... For anyone interested in learning about late 19th- and early 20th- century imaginative thought, this engagingly written book (...) is a good place to start."—_Washington Post Book World_ "_The First Moderns_ brilliantly maps the beginning of a path at whose end loom as many diasporas as there are men."—Frederic Morton, _The Los Angeles Times Book Review_ "In this truly exciting study of the origins of modernist thought, poet and teacher Everdell roams freely across disciplinary lines.... A brilliant book that will prove useful to scholars and generalists for years to come; enthusiastically recommended."—_Library Journal_, starred review "Everdell has performed a rare service for his readers. Dispelling much of the current nonsense about 'postmodernism,' this book belongs on the very short list of profound works of cultural analysis."—_Booklist_ "Innovative and impressive... [Everdell] has written a marvelous, erudite, and readable study."-Mark Bevir, _Spectator_ "A richly eclectic history of the dawn of a new era in painting, music, literature, mathematics, physics, genetics, neuroscience, psychiatry and philosophy."—Margaret Wertheim, _New Scientist_ "[Everdell] has himself recombined the parts of our era's intellectual history in new and startling ways, shedding light for which the reader of _The First Moderns_ will be eternally grateful."—Hugh Kenner, _The New York Times Book Review_ "Everdell shows how the idea of "modernity" arose before the First World War by telling the stories of heroes such as T. S. Eliot, Max Planck, and Georges Serault with such a lively eye for detail, irony, and ambiance that you feel as if you're reliving those miraculous years."—Jon Spayde, _Utne Reader_. (shrink)

Comprendre la tyrannie, retrouver les critères qui nous permettent de l’apercevoir et d’en juger correctement, telle est la fin que Leo Strauss assigne explicitement à son étude du Hiéron de Xénophon. Pourtant, la lecture du livre peut aisément donner l’impression qu’il y est moins question de la tyrannie proprement dite que du rapport entre le philosophe et le politique, ou entre la sagesse et la loi. La préoccupation pour la tyrannie semble ainsi s’effacer devant une préoccupation plus générale sur la (...) nature de la philosophie politique classique dans son ensemble. Nous voulions toutefois ici prendre plus au sérieux l’intention de Strauss, et nous efforcer de comprendre son argumentation ou « enseignement » sur la tyrannie. (shrink)

A system of natural deduction rules is proposed for an idealized form of English. The rules presuppose a sharp distinction between proper names and such expressions as the c, a (an) c, some c, any c, and every c, where c represents a common noun. These latter expressions are called quantifiers, and other expressions of the form that c or that c itself, are called quantified terms. Introduction and elimination rules are presented for any, every, some, a (an), and the, (...) and also for any which, every which, and so on, as well as rules for some other concepts. One outcome of these rules is that Every man loves some woman is implied by, but does not imply, Some woman is loved by every man, since the latter is taken to mean the same as Some woman is loved by all men. Also, Jack knows which woman came is implied by Some woman is known by Jack to have come, but not by Jack knows that some woman came. (shrink)

Early nineteenth century systematists sought to describe what they called the Natural System or the Natural Classification. In the nineteenth century, there was no agreement about the basis of observed patterns of similarity between organisms. What did these systematists think they were doing, when they named taxa, proposed relationships between taxa, and arranged taxa into representational schemes? In this paper I explicate Charles Frederic Girard’s (1822–1895) theory and method of systematics. A student of Louis Agassiz, and subsequently (1850–1858) a (...) collaborator with Spencer Baird, Girard claimed that natural classificatory methods do not presuppose either a special creationist or an evolutionary theory of the natural world. The natural system, in Girard’s view, comprises three distinct ways in which organisms can be related to each other. Girard analyzed these relationships, and justified his classificatory methodology, by appeal to his embryological and physiological work. Girard offers an explicit theoretical answer to the question, what characters are evidence for natural classificatory hypotheses? I show that the challenge of simultaneously depicting the three distinct types of relationship led Girard to add a third dimension to his classificatory diagrams. (shrink)

Louis Painchaud | : Pendant près de deux millénaires, « faux-Judéens » et « synagogue de Satan » de Smyrne et de Philadelphie ont été considérés comme des « Juifs », membres des « synagogues » de ces villes, hostiles aux « chrétiens » qu’ils auraient même dénoncés auprès des autorités. Dans la deuxième moitié du xxe siècle, dans un contexte qui a suscité tout un courant de réflexion critique sur l’antisémitisme chrétien, plusieurs ont proposé de voir dans ces (...) « Juifs » des factions hostiles à Jean au sein des assemblées auxquelles il s’adresse. L’hypothèse qui est proposée ici est de voir, dans ces Judéens accusés de blasphème et taxés d’être de faux Judéens ou des Judéens menteurs, des membres de l’ethnos Judéens souillés, aux yeux de Jean, un prophète judéen sectaire, par leur intégration dans le tissu associatif de la cité. Quant à la « congrégation de Satan » qu’ils formeraient, elle ne doit pas être entendue comme la désignation d’une communauté judéenne ayant une existence réelle dans la cité, mais comme une pure construction de Jean, prophète de Jésus le Vivant qui ne se savait pas encore chrétien, visant à démoniser non pas tous les Judéens de ces deux cités, mais certains Judéens infidèles aux commandements et, donc, à leur identité judéenne. | : For nearly two thousand years, the Smyrneans and Philadelphians that the book of Revelation describes as “false Judeans” and as making up a “synagogue of Satan” have been taken to be “Jews,” members of the “synagogues” located in those cities, who were hostile to local “Christians,” to the point of denouncing them to the authorities. In the second half of the twentieth century, in a context in which Christian anti-Semitism was increasingly recognized and critiqued, many argued that these “Jews” were in fact members of the communities addressed by John, belonging to factions hostile to his message. In this paper, I will argue that the people whom John accuses of being blaspheming and false Judeans were members of the Judean ethnos who were seen by John — himself a Judean sectarian — as having become defiled through their integration into the social and professional fabric of the city. From this point of view, the “synagogue of Satan” is not to be seen as a real Judean community, but rather as the pure creation of John, a prophet of Jesus the Living One who did not know that later generations would consider him a “Christian.” Thus John does not intend to demonize all the Judeans in these two cities ; rather, his invective is directed at some Judeans, whom he sees as betraying the commandments and, hence, their own Jewish identity. (shrink)

With several never-before published writings, this volume gathers Althusser's major essays on psychoanalytic thought----documenting his intense and ambivalent relationship with Lacan, and dramatizing his intellectual journey and troubled personal life.