Dream reports from 21 dreamers in which a metamorphosis of a person-like entity or animal occurred were coded for characters and animals and for inner states attributed to them (Theory of Mind). In myths and fairy tales, Kelly and Keil (1985) found that conscious beings (people, gods) tend to be transformed into entities nearby in the conceptual structure of Keil (1979). This also occurred in dream reports, but perceptual nearness seemed more important than conceptual nearness. In dream reports, most inanimate (...) objects involved in metamorphoses with person-like entities were objects such as statues that ordinarily resemble people physically, and moreover represent people. A metamorphosis of a person-like entity or animal did not lead to an increase in the amount of Theory of Mind attribution. We propose that a character-line starts when a character enters a dream; properties and Theory of Mind attributions tend to be preserved along the line, regardless of whether, metamorphoses occur on it. (shrink)

Dans Les Métamorphoses du cercle, ouvrage incontournable de l'histoire des idées, Georges Poulet propose une analyse lumineuse et pénétrante des variations innombrables de la figure du cercle à travers les penseurs et poètes depuis la Renaissance. Le cercle apparaît alors comme une métaphore fondamentale qui de tout temps servit aux hommes à penser le inonde et la vie tout court. Sa simplicité et sa perfection en font la première de ces formes privilégiées qui se retrouvent au fond de toutes les (...) croyances et qui servent de principe de structure à tous les esprits. (shrink)

The discussions about the ethical, political and human implications of the postmodernist condition have been raging for longer than most of us care to remember. They have been especially fierce within feminism. After a brief flirtation with postmodern thinking in the 1980s, mainstream feminist circles seem to have turned their back on the staple notions of poststructuralist philosophy. Metamorphoses takes stock of the situation and attempts to reset priorities within the poststructuralist feminist agenda. Cross-referring in a creative way to (...) Deleuze's and Irigaray's respective philosophies of difference, the book addresses key notions such as embodiment, immanence, sexual difference, nomadism and the materiality of the subject. Metamorphoses also focuses on the implications of these theories for cultural criticism and a redefinition of politics. It provides a vivid overview of contemporary culture, with special emphasis on technology, the monstrous imaginary and the recurrent obsession with 'the flesh' in the age of techno-bodies. This highly original contribution to current debates is written for those who find changes and transformations challenging and necessary. It will be of great interest to students and scholars of philosophy, feminist theory, gender studies, sociology, social theory and cultural studies. (shrink)

Darko Suvin’s Metamorphoses of Science Fiction, first published by Yale University Press in 1979, has been the single most influential work in the history of academic science-fiction studies. As Veronica Hollinger observed: “Metamorphoses is the significant forerunner of all the major examinations of the genre”. Mark Bould and Sherryl Vint make more or less the same point: “Disagreeing with him [Suvin] is a considerable part of SF scholarship—he... set... the terms by which SF has subsequently been studied”. Perhaps (...) not quite so significant for utopian studies, Metamorphoses was nonetheless a crucially important text here too. For the fundamental novelty of its argument lies in the... (shrink)

À propos de : Catherine Malabou, Métamorphoses de l'intelligence. Que faire de leur cerveau bleu?, Paris, PUF, 2017, 182 p.. Ce livre s'inscrit dans la continuité et la transformation de l’œuvre de Catherine Malabou. Il s'agit de continuer le travail de conceptualisation de la plasticité à partir de son ancrage cérébral déjà établi et de transformer ce concept en confrontant sa pertinence aux technologies informatiques les plus récentes et à venir. Pour comprendre comment se mène cette avent...

The paper is based on A. Toynbee’s methodology and analyzes the metamorphoses of morality as answers to the challenges of history. The historical period of the emergence of morality is subjected to reflection, when the development of normativity in behavior became a condition for the survival of primitive society. Consideration of the evolution of the morality of Antiquity made it possible to discover the social conditioning of moral ideas.Based on the conclusion of N.S. Rozov about the existence of certain (...) conditions that precede any cultural phenomena, the metamorphoses of the morality of the Renaissance were studied.It was found that the Toynbean concept of “esterification” should be used to reflect the evolution of historical challenges, in particular, the situation faced by modern society, when globalization processes led to new metamorphoses of morality. (shrink)

Based on the argument that violence has a parasitic quality rather than an essence of its own, this article seeks to bring to light the conversion processes through which violence crystallises out of, as well as into, various phenomena. Violence is first examined in terms of the relation between perpetrator and victim with, however, an emphasis on the fact that violence cannot be reduced to the intention or the act of the perpetrator. On the contrary, violence is shown to have (...) the character of pathos and to open up a dimension of which the act itself is only a part. Further, the author argues that in being directed towards the other, violence harbours a performative contradiction: by turning the addressee into a thing to be destroyed, the addressing act cancels itself. The paper also sets out to identify the breeding grounds of violence, which, due to its capacity for conversion, can be detected in various phenomena that are not necessarily linked to violence. This means that violence can resort to various mechanisms and can emerge in multiple fields of activity: in bureaucracy, economics, medicine, politics, war, and most importantly, in everyday life, hidden under inconspicuous but sometimes pervasive forms. Finally, the metamorphoses of violence are shown to ultimately rest on the temporal character of violence, which implies that violence has a time of preparation and an aftermath. (shrink)

This paper examines Chinese imagery of smokestacks both as a concrete object and an abstract concept emerging from early futurist eulogy to modernist allergy, and from Maoist propaganda to post-Fifth Generation environmental reflections. In the Republican era, writers from the Creation Society eulogize the smokes of steamboat smokestacks as beautified symbols of modern civilization. Yet members from the Beijing School convey their concerns about the Janus face of industrialization and environmental impairments. After 1949, smokestacks are eulogized as an icon of (...) socialist industrialization and pervade cinematic productions, literary imaginations, and artistic exhibitions. Since the 1980s, smokestacks have been gradually understood as vestiges of problematic socialist practice. The growing ecological deterioration in the 21st century propels public intellectuals and film directors to expose industrial pollution and to invoke environmental protection. Yet another type of representation arises in the post-Fifth Generation films, where smokestacks are visualized as a token of the “insulted and injured” working class, individual discovery, and collective sentiment worn out by the post Mao-Deng global developmentalism and social injustice. The metamorphoses of smokestacks in literary, cinematic, and artistic imaginations envision and exhibit the structural transformation of modern Chinese environmental and ecological consciousness. (shrink)

This article takes as its starting point and its main problematic the status of evolution as a ‘sterile belief’ in contemporary technoscientific culture. Focusing in particular on the role of evolution across the boundaries of art and science in the contexts of artificial life and transgenic engineering, it offers a critique of the belief in evolutionary possibility as an abstract process. The lack of what François Jacob refers to as a dialogue between the possible and the actual is seen to (...) account for the sterility of evolutionary possibility and for its status as myth. In particular, evolutionary possibility recalls the myth of metamorphoses, the conservatism of which is demonstrated in an analysis of two art/science works - Galápagos by Karl Sims and Genesis by Eduardo Kac. Lacking a dialogue with the actual, metamorphic evolutionary possibility here becomes self-referential and produces nothing new. Rather than a rejection of evolution per se, this article takes up Jacob’s critique of its over-extension by showing how this operates in two works representing the fields of artificial life and transgenesis respectively. (shrink)

A preeminent philosopher of education in the United States, Jane Roland Martin challenges conventional wisdom that education consists of small, incremental changes. Using case studies of personal transformations, or metamorphoses, Martin examines Malcolm X, Shaw's Eliza Doolittle, Victor of Aveyron and others to demonstrate how education is a fundamental determinant of the human condition.

Époque de transition, la Renaissance connaît une série d’évolutions de l’idée politique d’empire (héritée du Moyen Âge) vers la réalité moderne d’un vaste marché coordonnant progressivement les économies nationales particulières et leurs réseaux d’influence. Ces évolutions permettent-elles d’évoquer la mise en place d’une « version économique de l’empire » ? Peut-on regarder ce qui se joue à la Renaissance, saisie à travers ses relations géopolitiques, comme la préfiguration de la globalisation ? L’article examine ces questions à partir de plusieurs hypothèses (...) et défend la thèse que l’idée d’empire subit à cette époque des « métamorphoses », c’est-à-dire des évolutions qui en modifient le concept, notamment en ce qui concerne le rapport entre domination et territorialité. (shrink)

In this paper I explore the connections between shame and embodiment in Euripides’s play Helen. The paper focuses on the play’s underlying theme of sexual violence and rape, and on the descriptions of metamorphoses that the mythological female victims often undergo in the face of rape. In my analysis on shame and embodiment I apply two insights from Giorgio Agamben’s analysis of the phenomenon of victim shame in The Remnants of Auschwitz. These are, first, the definition according to which (...) shame is “to be consigned to what cannot be assumed”—that is, to be consigned to one’s self, being and physical body—and second, the claim that in shame one is affected by one’s own passivity. Building on these definitions, I explore the intimate connection between shame and embodiment at work in Helen. As a result we can see how the female metamorphoses before or after sexual violence—in Euripides’s play and in Greek mythology in general—can be read in terms of victim shame. Furthermore, I suggest that this shame of the victims of sexual violence originates from the very nature of the crime itself: from being forced to experience the body’s abject passivity. (shrink)

In these lines Ovid introduces Althaea's debate whether or not to kill her son Meleager by burning the brand which was his life, because he had killed her two brothers during the Calydonian boar hunt. A. S. Hollis says of line 476 that it contains ‘a forced and almost pointless word-play’. If sanguis is taken in its primary meaning, ‘blood’, this condemnation is quite justified. However, if one takes into account a secondary sense, the word-play acquires more strength. This sense (...) is that of ‘offspring’ or ‘descendant’. Examples of this usage include Virgil, Aeneid 6.835 ‘sanguis meus’ , Horace, Carmen Saeculare 50 ‘clarus Anchisae Venerisque sanguis’ , Odes 3.27.65 ‘regius sanguis’ , and, in the Metamorphoses itself ‘pro…meo veni supplex tibi, Iuppiter, …sanguine’. It may well be that Ovid was intending implications of both meanings in his choice of the word. (shrink)

The purpose of this paper is, first, to demonstrate to future editors of the Metamorphoses , whether conservative or sceptical, just how improbable is the reading of the majority of MSS, illas , and how strong are the claims of the variant ilia , first recommended by P.Lejay in 1894 and vigorously championed by E.J.Kenney in 1976; and, second, to suggest an interpretation of this reading that is open to fewer objections than the one proposed by Kenney.I have given (...) above the beginning of Ovid's longest poem as it ought to stand in all modern editions and as it stands in fact in only one, the French school edition of selections edited by Lejay in 1894: ‘Gods, on my undertakings breathe your favour.’ To be sure, all of Ovid's MSS read illas in line 2, and ilia is attested only as a variant in two of them.But majorities, in textual as in other matters, are frequently wrong.Even before the minority report of the Urbinas had been heard, Lejay adopted ilia , av.1.in the Erfordensis.1. (shrink)

What is the best way to govern ourselves? The history of the West has been shaped by the struggle to answer this question, according to Pierre Manent. A major achievement by one of Europe's most influential political philosophers, Metamorphoses of the City is a sweeping interpretation of Europe's ambition since ancient times to generate ever better forms of collective self-government, and a reflection on what it means to be modern. Manent's genealogy of the nation-state begins with the Greek city-state, (...) the polis. With its creation, humans ceased to organize themselves solely by family and kinship systems and instead began to live politically. Eventually, as the polis exhausted its possibilities in warfare and civil strife, cities evolved into empires, epitomized by Rome, and empires in turn gave way to the universal Catholic Church and finally the nation-state. Through readings of Aristotle, Augustine, Montaigne, and others, Manent charts an intellectual history of these political forms, allowing us to see that the dynamic of competition among them is a central force in the evolution of Western civilization. Scarred by the legacy of world wars, submerged in an increasingly technical transnational bureaucracy, indecisive in the face of proliferating crises of representative democracy, the European nation-state, Manent says, is nearing the end of its line. What new metamorphosis of the city will supplant it remains to be seen. (shrink)

The adultery tale of the lover in the vat in Apuleius’ „Metamorphoses“ 9.5-7 is a farcial narrative of everyday life, which still allows its reader to recognize the narrative structure of an underlying literary model. In this embedded tale Apuleius presents a modernized version of the famous story of Venus committing adultery with Mars by transferring his characters into the social environment of poor commoners. By means of specific signals the audience is pointed towards the well-known constellation of the (...) famous case of adultery among the gods. The new narrative still carries vestiges of the mythical precedent, in the light of which the narrator’s (Lucius-ass) merry tale about a cuckolded husband can be read. Although the characters of the novel differ considerably from the prototypes of the myth repeatedly adapted in literature, its narrative structure nevertheless remains recognizable as a foil. (shrink)

Paradigme même du diagramme, l’arbre a fait l’objet des convocations les plus variées dans des domaines et aux fins les plus diverses : outil mnémotechnique, modèle d’organisation de la connaissance, hiérarchies conceptuelles, relations généalogiques, processus héréditaires, modélisation de l’histoire ou de l’évolution naturelle, etc. De l’arbre de Porphyre à l’arbre des encyclopédistes, de l’arbre darwinien de la vie aux arbres de l’histoire littéraire de Franco Moretti, les diagrammes arborescents témoignent d’une capacité apparemment infinie à se laisser réactiver pour délivrer des (...) potentiels inédits, quitte parfois à faire émerger des contre-figures comme le rhizome de Deleuze et Guattari, ou encore le corail de Darwin. Cette capacité de métamorphose de l’arbre, qui est explorée ici, explique pourquoi il est souvent considéré comme le diagramme des diagrammes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.4 (2002) 623-627 [Access article in PDF] Brief MentionMetamorphoses:a Play By Mary Zimmerman Joseph Farrell I CANNOT REMEMBER A TIME when scholarly interest in a particular classical author was equaled, and maybe exceeded, by a popular enthusiasm measured in weeks on the best-seller lists, boffo box office, and Tony awards. But this seems now to have happened with Ovid. Latinists for some time have been (...) taking Ovid much more seriously than they had done, making his poetry a vehicle for new directions in their work. Over roughly the same period, we have seen Ovidian novels by David Malouf, Christoph Ransmayr, and Jane Alison; fresh translations and ambitious reworkings by Ted Hughes and other poets; and now a remarkable new play by the extraordinary Mary Zimmerman (Circle in the Square, New York, N.Y., from 4 March 2002). 1Zimmerman, a professor of performance studies at Northwestern and a former MacArthur fellow, is a major figure in innovative theatrical venues nationwide. She is known to classicists particularly for her adaptation of the Odyssey, which has been staged in a number of cities since its 1989 premiere. Metamorphoses is, however, her first Broadway production. The show opened off Broadway last fall, and that run was preceded by several others in Chicago, Seattle, Berkeley, and Los Angeles over the past five or more years. 2 As a result, probably everybody [End Page 623] knows something about the play, if only that it is staged in and around a pool of water. The pool is in many ways the star of the show. In the play's opening episode, the Cosmogony, it signifies elemental water, and it recalls its original elemental role in subsequent appearances while signaling that in an Ovidian world, even elemental substances undergo constant change. Thus, water, the most protean of elements, becomes the luxurious swimming pool of a nouveau riche Midas, the ocean in which Ceyx drowns, the food devoured by Erysichthon, Narcissus' mirror, a basin to hold Myrrha's tears, the River Styx when it is crossed by Orpheus, another swimming pool (or maybe the River Po?) on which Phaethon neurotically floats. The pool is surrounded by a three-foot-wide deck, and the minimalist set is completed by an imposing double door behind the pool and to the left; a raised platform behind the pool and to the right; a rectangle of painted skyscape, vaguely reminiscent of Magritte, above the platform; and a chandelier above the pool. A cast of ten actors plays a couple of dozen characters, changing in and out of costumes that are evocative of a generalized antiquity but one in which such things as suspenders and trousers are not unknown: a dream antiquity, then, in which modern viewers can lose themselves or find themselves as circumstances dictate.The advance notices that I had heard or read prepared me to enjoy the play, but its power surprised me. Metamorphoses was an elating experience and one that moved me nearly to tears. It accomplished this by unexpected means. The script is not designed as a vehicle for virtuoso acting. The cast respect this quality in their lines and do not overplay the hand that they are dealt. Instead, the basic emotions of each story are allowed to speak directly. Not that the script or the actors' readings are naïve—on the contrary, they are generally inflected in just the right directions throughout a series of episodes that are, by turns, campy, risqué, or silly and then sweet, shocking, or exquisitely, heart-wrenchingly sad. It is in fact here that this play and this production excel: Laughter and tears walk side by side in each episode but with a different cadence in each case. Now tears are a reproach for taking a story too lightly; now laughter lightens and consoles in the midst of sorrow. In conducting the audience through this spectrum of emotions, Zimmerman has captured the seriocomic element in Ovid as perhaps no other interpreter has ever done. 3 It is worth mentioning here that the basis of Zimmerman's text... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.3 (2003) 473-476 [Access article in PDF] Metamorphoses and Metamorphosis:A Brief Response David H. Porter Like Joseph Farrell, I found much to admire in Mary Zimmerman's Metamorphoses, 1 but I nonetheless left the theater disappointed. Given all that the play—and this production—had to offer, what was it that I looked for but did not find? Excerpts from the foreword to Cesare Pavese's Dialogues (...) with Leucò suggest an answer: What is more acutely disturbing than to see familiar stories troubled into new life?... The surest, and the quickest, way for us to arouse the sense of wonder is to stare, unafraid, at a single object. Suddenly—miraculously—it will look like something we have never seen before. 2For me, what Pavese describes did not happen in Metamorphoses: I found the play an imaginative retelling of Ovid, but I'd been hoping for a true metamorphosis. In terms of the play's most famous feature, the pool of water that serves as a central stage, I felt most of the time that figures I knew from Ovid were playing out their expected roles around and in this pool. My hope had been that this brilliant theatrical innovation might mirror a play in which Ovid's tales themselves take on liquid freedom and fluidity, plunging, as it were, into this central metaphor to emerge changed, unexpected, reborn.The distinction I draw is one I've found useful both in assessing modern versions of ancient myth for myself and in teaching such works. 3 Readers will undoubtedly vary widely as to their favorites among the growing list of such versions, but I expect most would agree that a handful, including perhaps Joyce's Ulysses, Rilke's Sonnets to Orpheus, [End Page 473] Strauss's Elektra, Yeat's "Leda and the Swan," and Picasso's "Guernica," fall into a special category: different as they are in genre, style, and approach, all strike us as works of artists who have so inhabited a myth, so made it part of themselves—and themselves part of it—that what emerges is totally their own, totally transformed: a re-creation. With each we feel that never before have we experienced the myth this way, and that never again will the myth be quite the same for us—precisely what a New York Times reviewer wrote about a version of Medea that was playing at the Classical Theater of Harlem in April 2002: "I suspect that no matter how many versions I see in the future, my perception of them all will be affected by the revelations here." 4Again, this is the sort of reaction that Metamorphoses, for all its virtues, did not elicit in me, and I would extend this exclusion to most other modern reworkings of ancient myth—among them Pavese's own Dialogues with Leucò, which, despite the penetrating insights of his foreword, strike me the same way—as charming, distinctive retellings, not revelations. The issue, I think, has to do with the depth and degree of an artist's immersion in a myth, something that goes well beyond the superficial test of how far the artist diverges from "the original." Eliot's and O'Neill's myth-based plays, for instance, or a novel like Updike's The Centaur, make radical changes in the names and settings of the ancient myths, but in contrast to Joyce's Ulysses, the changes feel artificial, incompletely realized—transpositions rather than transformations. In contrast, Odilon Redon's painting of Polyphemus as a mountainous crag from which a huge voyeuristic eye peers out springs directly from an image in the Odyssey—and yet has a nightmare quality that is indeed "like something we have never seen before." 5A musical analogy may be useful. Listeners reported that when Franz Liszt played Beethoven, he gave the impression at each performance [End Page 474] that he was creating the music anew. 6 And Edward Steuermann, Arnold Schoenberg's long-time colleague, once wrote, "Is not music, the great music, so much alive because it was... (shrink)

Depuis le 29 juin 2006, le Conseil des droits de l’homme a adopté la « Déclaration sur les droits des peuples autochtones » ; elle doit être débattue par l’Assemblée générale de l’ONU, à New York. Les citoyens d’Athènes, familiers des oraisons funèbres, annuellement prononcées chez eux sur le thème de l’Autochtonie, se sont dits..

This article is a reading of Emmanuel Falque’s Hors phénomène. Essai aux confins de la phénoménalité, published by Herman in 2021. In its first section the article presents the main theses of the book and comments on its style. In the second section it discusses the question of the subject by means of the movement that goes from de-subjectivation to the hypothesis of a re-subjectivation, through the hyper-subjectivation of suffering. Finally, in its third section, the text pinpoints three perplexities, questioning (...) the ontology of the subject at work in this philosophy, the conditions of possibility of a return from the depths of Hors phénomène, and the question of intersubjectivity for a “connected solitude”. (shrink)

Why does aesthetics matter in aesthetic education? What are the issues that this area of philosophy deals with, and what kind of questions does it raise in relation to art and the experience one has when s/he comes into contact with a work of art? Moreover, how can aesthetic theory provide sufficient justification for establishing aesthetic education as an autonomous and important field in education? In addressing these fundamental questions, the author: A) follows the development of aesthetics as a series (...) of transformations and continual engagement with the core issues related to art and the aesthetic experience. She argues that the task of aesthetic theory is to re-examine the conditions under which both art and the aesthetic experience are approached and, in the process, to challenge unsubstantiated claims and prejudices associated with them. B) The author also attempts to show how, due to its reflective and critical nature, aesthetics could become the foundation of aesthetic education. She argues that, as a result, questions of major importance for shaping the content and aims of aesthetic education can be fruitfully answered from the perspective of aesthetic theory. (shrink)

Cet ouvrage part d'un constat : nul n'est au monde s'il naît au monde. Le dogme de la résurrection des corps restera en ce sens un mot vide tant qu'on ne le rapportera pas philosophiquement à un mode de l'expérience : la naissance. Nicodème, déjà, en avait interrogé le sens : " Comment un homme peut-il une seconde fois entrer dans le ventre de sa mère et naître? " Confrontée à la philosophie contemporaine, une phénoménologie de la naissance corporelle fera (...) donc office de paradigme à une théologie de la renaissance spirituelle et charnelle. Car la " Résurrection change tout " en christianisme - monde et temps bien sûr, mais aussi notre propre corps transformé dans la figure du Christ transfiguré. Puissions-nous alors en recevoir la forme pour en être " in-formé ", puisque de la manière dont aujourd'hui je vis mon corps dépend la façon dont demain je ressusciterai charnellement en Dieu. De " l'analytique christique de l'angoisse, de la souffrance et de la mort ", ce livre passe, comme en un second volet pouvant être lu indépendamment du premier, à " l'analytique de la résurrection comme mode d'être de la naissance ". Ce dont le Fils pâtit, il en opère ici le passage vers son Père qui, dans la force de l'Esprit, en accomplit pour nous la métamorphose. (shrink)

Linguistic rhetoric and argumentative reasoning are generally identified. Certain types of problems, however, make use of non-verbal systems of representation, and, among them, image. Image is not just matter but also form, and computer processing in AI makes it possible to grasp this form by linguistic means (logico-mathematical languages). The synthesis of animated images has made it possible to represent metamorphoses, the thought of the unexpected. The fact that language produces image (and conversely) does not fail to transform the (...) standard ways of thinking about epistemology. (shrink)

Ovid, Metamorphoses 4.243–4:nec tu iam poteras enectum pondere terraetollere, nympha, caput, corpusque exsangue iacebas.

A major intervention that marks the first appearance of Gil's work in English, Metamorphoses of the Body gives us an entirely new way of looking at relationships between bodies, forces, politics, and people.

Metamorphoses of the Zoo marshals a unique compendium of critical interventions that envision novel modes of authentic encounter that cultivate humanity's biophilic tendencies without abusing or degrading other animals. These take the form of radical restructurings of what were formerly zoos or map out entirely new, post-zoo sites or experiences. The result is a volume that contributes to moral progress on the inter-species front and eco-psychological health for a humankind whose habitats are now mostly citified or urbanizing.

In this paper I compare how Michel Henry and Henri Maldiney interpret Kandinsky’s heritage. Henry’s phenomenology is based on a distinction between two main modes of manifestation: the ordinary one, that is, the manifestation of the world, and the “manifestation of life.” For him, Kandinsky’s work provides a paradigmatic example of the second, more original mode of manifestation, which is free from all forms of self-alienation. Henry claims that this living through the work of art is transformative; it is akin (...) to ascetic practice or mystical experience that goes beyond the distinction of the subject and the object. Maldiney acknowledges Kandinsky’s work as an attempt to provide access to an a-cosmic and ahistoric experience of one’s inner self; yet for him this is not a positive characteristic. For Maldiney, the key distinction is not between modes of phenomenalisation, but between the dimensions of meaning. For him there is no radical self-transformation which is not a transformation of one’s being-in-the-world and one’s meaning of the world, and so Kandinsky’s a-cosmic paintings cannot induce a true transformation of the self. I conclude that the disagreement of Henry and Maldiney on Kandinsky does not unfold on the level of phenomenological description of concrete aesthetic experience, but on the level of metaphysics. (shrink)

For Evald Il’enkov, philosophy is a science of the ideal. Il’enkov spent his entire life researching the logical and historical metamorphoses of the ideal. In general, he considered the ideal as a relation between at least two different things, one of which adequately represents the essence of another. At various times Il’enkov explored quite a few ideal phenomena: forms of value and forms of property, personality and talent, language, music and fine arts, not to mention numerous categories of dialectics, (...) ethics, and aesthetics. The article also addresses the problem: which of these phenomena is the most typical and adequate form of being of the ideal? (shrink)

In the biblical Transfiguration, nothing changes, and yet nothing remains as it was before. From this major reference, this paper articulates some reflections and questions, where esthetics, literature and philosophy combine, intersect and confront.

Walter Benjamin situe au milieu des années 1920 un tournant dans sa pensée, qu’il désigne comme sa « conversion à la théorie politique » : délaissant progressivement le paradigme métaphysique qui informe les textes de jeunesse, il s’emploie à penser l’émancipation politique. Cet article se propose d’étudier les effets de cette « conversion » dans la théorie esthétique de Benjamin – qui, de théorie de la critique, devient théorie de la perception –, pour comprendre que la « seconde » esthétique (...) ne rompt pas tant avec les catégories de la « première » qu’elle en propose la réélaboration dans un nouveau paradigme. Cette lecture synthétique et diachronique des écrits majeurs de Benjamin sur l’art s’attache à restituer la dynamique et la cohérence de la réflexion benjaminienne, qui conçoit dès l’abord la réception esthétique comme une pratique émancipatoire. (shrink)

nec iuvenis sororis suae mortem tam miseram et quae minime par erat inlatam aequo tolerare quivit animo, sed … exin flagrantissimis febribus ardebat, ut ipsi quoque iam medela videretur esse necessaria. This is the text of the passage describing the reaction of the young man at the news that his beloved sister has been murdered flagris and titione candenti inter media femina detruso as it is transmitted by the Florentine MS. With the few exceptions which I discuss below, the vast (...) majority of editors accept the text of F, betraying resignation before a paradosis that can hardly seem genuine, since it can be maintained only by forcing both word order and syntax. Editors either refer quae to mortem, assuming an ellipsis of ei in the relative clause and taking par as ‘fitting’, or refer quae to soror, assuming an ellipsis of in eam and taking par as equivalent to digna. (shrink)

Let us enter linguistics by the “gateway of the senses.” The ambiguity of French itself, in which sens signifies both sensation and meaning, leads us to this Janus-portal, a place for elementary exchanges between the self and the world, where Saint Thomas stationed himself to work out a theory of the encounter between the philosophical subject and object or, rather, using his terms, between the cognoscens (active present participle) and cognitum (neuter nominative/accusative of a passive past participle…) The very heart (...) of all diathesis.**. (shrink)