James Walsh and Moira McQueen accurately conclude that the early delivery of anencephalic fetuses is morally acceptable, but the reasoning they use to reach that conclusion is flawed. First, the principle of double effect does not require a weighing of good and evil, but rather seeks a sufficient reason for tolerating the physical evil indirectly intended. Second, the principle of double effect requires a clear distinction between physical and moral causality. Third, the Catholic moral tradition will not admit direct and (...) intended killing of the innocent. Rather, early delivery of anencephalic fetuses is permissible because of the pathology associated with delivery of anencephalic fetuses at full term. Thus, the early delivery of an anencephalic infant is acceptable if the purpose of the moral act is avoiding a pathological condition on the part of the mother. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LettersJames L. Walsh, Moira M. McQueen, Kevin O'Rourke, and Jean deBloisEarly Delivery of the Anencephalic InfantMadam:In the March 1994 issue of the Kennedy Institute of Ethics Journal, Kevin O'Rourke and Jean deBlois have replied to an article of ours (KIEJ, December 1993) on the early induction of the anencephalic fetus. They agree with our conclusion that such early delivery may be morally acceptable, but argue that (...) our justification is flawed. Exchanges on the subject probably could continue ad nauseam; here we simply state some of the elements of their article that leave us perplexed.1. The phrase "prolonging the life of" (p. 49) has one meaning in the case of artificial life supports, which may be unwarranted interventions, but it has a different meaning when it refers to not interfering with a person's enjoyment of necessary natural means of preserving his or her life. Inducing labor prior to viability, which denies the natural means of life support without a possible substitute, has more in common with smothering a dying patient than the nonemployment of or withdrawing of artificial means of life support. To refer to the death of the fetus here as an effect is rather like saying that I suffocated you and the effect of the suffocation is your death. This is quite different from induction after viability where the induction can have different effects.2. If the authors were correct that "the prohibition on inducing delivery before viability is predicated upon the assumption that the fetus in utero is a human being with the potential for further development" (p. 49) and the anencephalic has none, why is there need to employ the principle of double effect? They say that there is no moral obligation to prolong the life of the anencephalic fetus. Just as there is no need for the principle in cases of withdrawing unwarranted artificial life support, so there would be no need for it here. Because the authors seem to perceive a complete disjunction between direct and indirect killing (allowing to die being in the category of indirect killing), it seems that they are unable to let their argument rest here, but have to justify the death that occurs.3. The example concerning smothering and the nonemployment of aggressive interventions (p. 49) explains well the difference between killing and allowing to die. But allowing to die is not indirectly killing since it occurs as a result of the disease and not from the causality of the agent.4. How can we cause something and not intend it? There are instances in which we simply "permit" evil events, but where we are not the cause. For example, evil events may be attributable to the bad will of others. Legislators make just laws knowing that some people of bad will will break them for their own advantage. Here the legislators really do permit evil. Neither are we the cause of death when we allow a person to die by not imposing unwarranted means of life support; we permit his or her death. But can we so readily designate by "permit" [End Page 184] what we knowingly choose to bring about? O'Rourke and deBlois use interchangeably "indirectly intended" and "unintended" for what is caused by our actions; "indirectly intended" is a better designation than "unintended." The whole package, including all foreseen effects, is intended. Evil "happening" (p. 51) as a result of an action that I place can refer either to evil as caused by my action or to evil as arising from a cause apart from my action. Only in this latter sense do I permit evil and not intend it, either directly or indirectly.5. The fourth condition of the principle of double effect is given as follows: "There must be a proportionately grave reason for placing the act. The greater the evil, the more cogent the reason must be for performing the act" (p. 50). How the authors can abstract from balancing goods and evils here is beyond us.6. We cannot follow the authors' use of the term "morally good" with respect to the induced delivery (p. 50). The problem is concerned with the morally right... (shrink)

The millennial interest in the fable told by Apuleius in The Golden Ass has produced periods of intense preoccupation. Of these uses of the legend none is more interesting, varied, and profound—none possesses greater implications for contemporary life and manners—than the obsessive concern of pre-Romantic and Romantic writers and artists. Hellenistic, Roman, and early Christian culture had produced at least twenty surviving statues of Psyche alone, some seven Christian sarcophagi that used the legend, and a set of mosaics on a (...) Christian ceiling in Rome from the early fourth century;1 and of course to late antiquity belongs the distinction of having produced the seminal telling of the tale by Apuleius in about A. D. 125. But what we possess from that remote time is thin and lacks the power to engage the modern spirit. The allegorizing and erotic responses made in the Renaissance, Mannerist, and Baroque culture produced monuments of painting that the later period cannot rival; but the impregnation of literature by the legend was slight, and the intellectual or moral content was often only a perfunctory and dutiful addendum. The revival of the story in the aesthetic movement of the late Victorians and early moderns has its examples of beauty, particularly in Rodin and in the lush harmonies and occasionally piercing melodies of César Franck's Psyché, a tone poem for chorus and orchestra; but the long retellings by Morris, Bridges, and John Jay Chapman oppress with luxuriant sweetness and remain of interest only as period pieces. · 1. See Elizabeth Hazelton Haight, Apuleius and His Influence , p. 164, and Maxime Collignon, "Essai sur les monuments grecs et romains . . . ," in Bibliothèque des écoles françaises d'Athène et de Rome , fasc. 2, pp. 285-446, esp. pp. 364, 436-38. Jean H. Hagstrum, John C. Shaffer Professor of English and Humanities at Northwestern University, is currently preparing a book on the theme of love in European literature and art from the mid-seventeenth century through the Romantic period. He is the author of books and articles on Blake and Samuel Johnson, and of The Sister Arts, a study of the relations of poetry and painting from antiquity through the eighteenth century. (shrink)

This is an extract2 from “Une défaite,” an unfinished novel which, according to Simone de Beauvoir, Sartre wrote in 1927. Apparently, Sartre was inspired by Charles Andler 's biography of Nietzsche and the triangular relationship of Nietzsche, Wagner and Cosima Wagner. The latter, Franz Liszt's daughter, was initially married to Hans von Bülow with whom she had two daughters, and then she married Wagner with whom she had two more daughters. Nietzsche admired her greatly. Sartre became fascinated by this ambiguous, (...) complex and conflictual triangle. Sartre also identified with Nietzsche and “the destiny of the solitary man.” The portagonist, Frédéric, who is one year older than Sartre, is also an ironic self-portrait of Sartre, while Cosima is a prototype for Anny in Nausea; both are modelled on Simone Jollivet. Cosima plays both mother and sister to Frédéric. The triangular relationship is often repeated in Sartre's affective existence. The fairy tale is the best written chapter in the novel. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter McGehee and the Erotics of Gay Self-RepresentationRaymond-Jean Frontain (bio)Novelist Peter McGehee was a beautiful man who—at the height of what Brad Gooch terms “the Golden Age of Promiscuity”—knew he was a beautiful man.1 Coming of age in the early 1970s when American gay men consciously set about refashioning their image, Peter’s dress was always striking, whether he was playing the slut or the dandy. Members of his (...) close circle of friends, dubbed “the Quinlan Family,” regularly twitted him for preening in the mirror, and one close friend reports that Peter could not pass a reflective surface without stopping to examine his image.2 Peter’s narcissism was further empowered by his talent as a photographer. He began taking pictures while in high school when his mother, an English teacher who advised both the school newspaper and yearbook, recruited him to serve as the staff photographer for both publications. And he continued taking photos—in particular, making self-portraits—until at least his early thirties (see Illustration 1).3 Click for larger view View full resolution1.Self-portrait by Peter McGehee. The hairstyle is identical to the one in the portrait that appears on the cover of the Stubblejumper Press edition of Beyond Happiness, suggesting that this photo was taken around 1985 when Peter was twenty-nine or thirty years old. Courtesy of the Estate of Peter McGehee.[End Page 115] Click for larger view View full resolution2.Self-portrait by Peter McGehee in mascara and woman’s top, circa 1981. Courtesy of Fiji Robinson.It should not come as a surprise that McGehee’s life and career are characterized by an ongoing and extraordinarily rich experimentation with modes of self-presentation. Peter was adept at making wacky collages that employ photographs and images culled from newspapers or magazines to serve as invitations, announcements to friends, and handbills for his performance activities. Under carefully controlled circumstances, Peter and his male friends donned female drag with Peter fashioning for himself a persona, “Princess Marie,” and signing himself as the same in letters to friends written in the royal first-person plural (see Illustration 2). When performing as the only male with two female partners in the Quinlan Sisters, a musical revue that he founded and for which he wrote the songs, he was generally identified in the program as “Marie Quinlan, the Sister with the Difference” (see Illustration 3).Peter experimented with personae even in his journals, where one might expect to find a less theatricalized self. Beginning in 1986, however, numerous entries are composed as letters that begin “Dear Winsome” (a word defined by the American Heritage College Dictionary as “charming, often in a childlike or naive way”—a manner that Peter liked to adopt), “Dear Winnie” (which is most likely a familiarization of the former), “Dear Timmy” (a name synonymous with naive wholesomeness for American baby boomers who were raised watching the television drama Lassie on Sunday evenings), and the matronly and delightfully dowdy “Dear Mrs. Hackensack.”4 Like Joe Orton, McGehee apparently even wrote letters to the local newspaper under a matronly female pseudonym in which he commented wryly on public matters that concerned him.5 [End Page 116] Click for larger view View full resolution3.Publicity photograph of Peter with Wendy Coad and Fiji Robinson as the Quinlan Sisters, circa 1982. Courtesy of Fiji Robinson.But clearly it was his fiction that offered McGehee the most satisfying opportunity for creative self-fashioning. It is the first rule of the creative writing class that a writer must write from, and of, what he knows if his writing is to have authority. But in his blurring of the line between fiction and autobiography Peter followed the lead established by Christopher Isherwood in The Berlin Stories (1935–39) and, more importantly, Christopher and His Kind (1976)—and pursued by Peter’s senior contemporaries Edmund White and Felice Picano—in which the autobiographer writes of himself in the third person in order to study himself with an almost brutal detachment, or in which the fictional protagonist is a barely disguised version of the writer’s self to the point of... (shrink)

Baudelaire's response to Delacroix's art and theories provides a particularly fruitful focus for a study of the new rapport between the former sister arts. There is little similarity between Delacroix's action-filled exotic subjects and Baudelaire's more intimate and private poetry; their arts must therefore be related in some domain apart from content. We are aided in deciphering this domain by Baudelaire's extensive commentary on Delacroix. Moreover, perhaps because of its subtlety, the relationship between these arts has not received the (...) attention it deserves.1 Yet no sooner is the possibility for such a study recognized than the problems it entails become apparent. Without the focus of common subjects, where does one begin? The dangers of impressionistic comparisons of study are readily apparent in the tendency of Geistesgeschichte studies to transfer stylistic terms from one art form to another, creating such bizarre transpositions as "the visible chamber music of the bent furniture" or the "Titian style of the madrigal" in Spengler's Decline of the West or Wylie Sypher's suggestion that a Shakespearean play is like a Renaissance painting because it makes use of "perspective" to create a real and believable world.2 And indeed it would be misleading to look for particular stylistic similarities between Delacroix and Baudelaire. Delacroix's dissolution of solid color masses into separate strokes of different colors, for example, would appear to be closer to Rimbaud's disjointed language than to Baudelaire's carefully interwoven sentences. Only by viewing the two art forms as interconnected systems can we determine their relationship. If the new affiliation of poetry and painting in the Romantic period derives from the expression of imaginative unity, a critical approach to their relationship must be attuned to different ways of expressing unity. The theoretical framework that accounts most completely for the kind of relationship existing between Delacroix and Baudelaire is provided by the structuralists, although, as we shall see, even this approach has limitations. · 1. There are several studies of Baudelaire's aesthetics and criticism, such as André Ferran's L'Esthétique de Baudelaire , Margaret Gilman's Baudelaire the Critic , and Jean Prévost's Baudelaire: essai sur l'inspiration et la création poétiques , which contain sections on the influence of Delacroix but do not extend their analysis into Baudelaire's poetry as a whole. More specific works, such as Lucie Horner's Baudelaire critique de Delacroix , provides a detailed study of their relationship based on their correspondence and references to one another, but no analysis of the relationship between their two art forms. Some studies of Baudelaire's poetry, such as Lloyd James Austin's L'Univers poétique de Baudelaire: symbolisme et symbolique and Martin Turnell's Baudelaire: A Study of His Poetry , point out aspects of Baudelaire's poems that appear relevant to the relationship with Delacroix, but they do not make these connections themselves. Most commentary on the relationship of Delacroix to Baudelaire's poetry is limited to those few poems that Baudelaire wrote on Delacroix's paintings.· 2. Wellek and Warren quote the comments on Spengler in Theory of Literature, p. 131. Sypher's comments are in Four Ages of Renaissance Style: Transformations in Art and Literature 1400-1700 , pp. 79-80. Elizabeth Abel is an assistant professor of English at the University of Chicago. A coeditor of Critical Inquiry, she is currently writing a book on literary and psychoanalytic representation of female identity. (shrink)

La vie d’Antoine-Jean Solier, protestant rouergat établi à Marseille comme négociant à la fin du xviiie siècle, a été scandée par l’écriture. Au fil de ses textes autobiographiques se révèle le for privé d’un homme pourtant peu enclin aux confidences. Le fils, le frère, le mari et le père s’expriment sous sa plume au gré des circonstances, esquissant le portrait complexe d’un être à la charnière de deux époques et de deux sensibilités. Porteur d’une tradition familiale construite sur de (...) fortes solidarités, tant professionnelles que confessionnelles, Antoine-Jean appartient aussi à cette génération des Lumières ouverte sur l’individu, dont la relation au divin se détend au profit d’une sensibilité plus humaniste. Ses écrits témoignent ainsi de toute l’ambiguïté de la relation à l’autre, selon le statut, le genre ou la place de chacun au sein de sa famille. (shrink)

In this paper I meditate on what it means to be well by interspersing my reflections on my time in an Intensive Care Unit with my sister, Bronzino’s 1560 painting of Noli me Tangere, along with Jean Luc Nancy’s book by this name, and Maurice Merleau-Ponty’s reflections on embodied movement. I conclude that wellness is a stance before death; love and joy belong to wellness but can neither be planned for nor made to happen. In keeping with the (...) coloniality of which the Western medical system is a part, the normative stance for caregiving in the ICU does not take into account the complexity and interconnectedness of communicative contact, or recognize that contact happens when unexpected. There is contact between bodies, but it is not about presence, about one body physically touching another; the contact happens elsewhere. (shrink)

This text is a set of reflections about a book that had been translated in French, published of late and that collected an article and a book of ethics written by J. Harsanyi. Harsanyi’s aim was to understand and make understood the ethical considerations implied or supposed by game theory; whether its authors were aware of that or not. He does it by the means of a bundle of theses, the ones included in Kant’s works -provided they were criticized enough-, (...) the others in Smith’s works and others again in Bayes, whose way of practicing mathematics is clearly perceived by Harsanyi as linked to an explicitly utilitarian philosophy, but the affinity of which we have recognized as having acquaintance with some considerations of Montaigne in his _ Essays _. So, our own aim was to place Harsinyi’s work in a longer tradition than the Kantian and English-speaking ones as Harsanyi probably believed and suggested to have believed it sufficient with regard to the exclusivity of his references. This c... (shrink)

A recently emerging view in music cognition holds that music is not only social and participatory in its production, but also in its perception, i.e. that music is in fact perceived as the sonic trace of social rela- tions between a group of real or virtual agents. While this view appears compatible with a number of intriguing music cognitive phenomena, such as the links between beat entrainment and prosocial behaviour or between strong musical emotions and empathy, direct evidence is lacking (...) that listeners are at all able to use the acoustic features of a musical interaction to infer the affiliatory or controlling nature of an underlying social intention. We created a novel experimental situation in which we asked expert music improvisers to communicate 5 types of non-musical social intentions, such as being domineering, dis- dainful or conciliatory, to one another solely using musical interaction. Using a combination of decoding studies, computational and psychoacoustical analyses, we show that both musically-trained and non musically-trained listeners can recognize relational intentions encoded in music, and that this social cognitive ability relies, to a sizeable extent, on the information processing of acoustic cues of temporal and harmonic coordination that are not present in any one of the musicians’ channels, but emerge from the dynamics of their interaction. By manipulating these cues in two-channel audio recordings and testing their impact on the social judgements of non-musician observers, we finally establish a causal relationship between the affiliation dimension of social behaviour and musical harmonic coordination on the one hand, and between the control dimension and musical temporal coordination on the other hand. These results provide novel mechanistic insights not only into the social cognition of musical interactions, but also into that of non-verbal interactions as a whole. (shrink)

Eranos Tagung 2020 “Rinascere : la vita minacciata e la passione della vita” Casa Eranos, Ascona-Moscia, 3-5 settembre 2020 Prof. Jean-Jacques Wunenburger 4 settembre 2020 - Philosophie – Nouvel article.

We applaud Boyer's attempt to ground the psychology of ownership partly in a cooperative logic. In this commentary, we propose to go further and ground the psychology of ownership solely in a cooperative logic. The predictions of bargaining theory, we argue, completely contradict the actual features of ownership intuitions. Ownership is only about the calculation of mutually beneficial, reciprocal contracts.

Résumé La linguistique du texte a pour tâche la théorisation et la description des opérations de segmentation qui délimitent des unités de rang et de longueur différentes, et la théorisation et la description des différents effets de continuité créés par les opérations de liage de ces unités. À la structuration phrastique-périodique par la morpho-syntaxe et la prosodie à l’oral, la ponctuation à l’écrit, le palier micro-textuel ajoute six facteurs de texture transphrastique : les liages référentiels et isotopiques, les liages du (...) signifiant, l’ensemble des phénomènes de connexion, les relations d’implicitation, la cohésion énonciative et la cohésion illocutoire. À partir de trois textes, cet article illustre systématiquement et détaille ces six formes de liage transphrastique des unités textuelles de base. (shrink)

The Marx-Bakunin Conflict in the First International : A Confrontation of Political Practices. The conflict between Marx and Bakunin within the First International was more than a merely political opposition. It was in fact a conflict about the very status of the political. Accused of being apolitical, Bakunin replied by declaring his anti-statist stance, while at the same time misinterpreting the Marxian political project. The position he defended within the International prefigured the anarcho-syndicalist subsumption of the political within syndicalism. In (...) return, the opposition helped to clarify the Marxian conception of worker organisations. Finally, the conflict would enable Bakunin to identify the dangers of bureaucratisation to which such organisations are prone, while Marx, for his part, sought to conceive of a type of political action which was specific to the proletariat. The conflict thus enables us to characterise Marx and Bakunin as two types of militant engagement. (shrink)

An important topic in the evolution of language is the kinds of grammars that can be computed by humans and other animals. Fitch and Hauser () approached this question by assessing the ability of different species to learn 2 grammars, (AB)n and An Bn. An Bn was taken to indicate a phrase structure grammar, eliciting a center‐embedded pattern. (AB)n indicates a grammar whose strings entail only local relations between the categories of constituents. F&H's data suggest that humans, but not tamarin (...) monkeys, learn an An Bn grammar, whereas both learn a simpler (AB)n grammar (). In their experiments, the A constituents were syllables pronounced by a female voice, whereas the B constituents were syllables pronounced by a male voice. This study proposes that what characterizes the An Bn exemplars is the distributional regularities of the syllables pronounced by either a male or a female rather than the underlying, more abstract patterns. This article replicates F&H's data and reports new controls using either categories similar to those in F&H or less salient ones. This article shows that distributional regularities explain the data better than grammar learning. Indeed, when familiarized with An Bn exemplars, participants failed to discriminate A3 B2 and A2 B3 from An Bn items, missing the crucial feature that the number of As must equal the number of Bs. Therefore, contrary to F&H, this study concludes that no syntactic rules implementing embedded nonadjacent dependencies were learned in these experiments. The difference between human linguistic abilities and the putative precursors in monkeys deserves further exploration. (shrink)

Jean Baudrillard is generally recognized as one of the most important and provocative contemporary social theorists. But in the English speaking world, his reputation is largely based on books published after the 1960s, as he moved towards becoming the premier commentator on postmodernism. This wide ranging and expertly edited book examines the work of the young Baudrillard, it deepens our understanding of his seminal work on consumer culture by presenting his early essays on McLuhan, Lefebvre and Marcuse. The influence (...) of German traditions of thought are clearly revealed, and Baudrillard's neglected and out of print writing on aesthetics is rediscovered and reprinted. Extracts from his political diaries and commentaries on European terrorism and the rise of the new Right, provide crucial insights into his later claims regarding the implosion of the masses and the rise of gesturial politics. Baudrillard emerges as a more nuanced and penetrating figure. His aesthetic and political interests are shown to be more deep-rooted and reflexive. In general, the book supplies the missing link for English speaking readers interested in understanding this prismatic and essential thinker. (shrink)

Certains événements de vie peuvent devenir traumatiques chez un sujet lorsqu’ils s’inscrivent dans les singularités de son lien de filiation : incertitude paternelle, infertilité, coïncidence mort/naissance (enfant posthume), dernier d’une lignée...

1. L'Être et le néant. Critique de la raison dialectique.

Name der Zeitschrift: Nietzscheforschung Jahrgang: 23 Heft: 1 Seiten: 111-130.

Oyeyemi's critique of racism in the United States focuses on the visual binary between whiteness and blackness, which she shows working in multiple ways to warp and distort relationships. In the Whitman family, children are valued (or not valued) according to how their skin color registers on a scale determined by white superiority. Oyeyemi's approach to racism takes the circuitous route of retelling the fairy tale of “Little Snow White,” thus calling into her own narrative a foundational text of Western (...) cultural aesthetics which links beauty to whiteness. (Snow White, whose skin is “white as snow,” is “fairest in the land.”) Rather than narrate a new version of the fairy tale, Oyeyemi separates out its elements – magic mirror, evil stepmother, and beautiful white stepdaughter – and develops each into a new thematic configuration. My analysis focuses on the subtle ways that Oyeyemi's reshaping of mirror, evil stepmother, and innocent beautiful young girl exposes the harms to children inflicted by allegiance to a (false) structure of visible difference between white skin and black skin. (shrink)

The ontology of Stoic causes and effects was clearly anti-platonic, since the Stoics did not want to admit that any incorporeal entity could have an effect. However, by asserting that any cause was the cause of an incorporeal effect, they returned to Plato’s syntax of causes in the Sophist, whose doctrine of the asymmetry of nouns and verbs identified names with the agents and verbs with the actions. The ontological asymmetry of causes and effects blocked the multiplication of causes by (...) reducing it to an efficient cause. However, while ontology and syntax merged into the doctrine of the effect as an incorporeal predicate, this was further complicated by a relational description of a cause as the effect of a body on a body and by the distinction of causes. Since there are different kinds of causes, not every kind of cause has the same syntactical role in the nexus of causal relations. This refinement of the original syntactical model presumably allowed the Stoics to give a more coherent view of human action than is usually assumed. (shrink)

William C. Hackett s English translation of Jean Wahl s "Existence humaine et transcendence" (1944) brings back to life an all-but-forgotten book that provocatively explores the philosophical concept of transcendence. Based on what Emmanuel Levinas called Wahl s famous lecture from 1937, "Existence humaine et transcendence" captured a watershed moment of European philosophy. Included in the book are Wahl's remarkable original lecture, the debate that ensued, with significant contributions by Gabriel Marcel and Nicolai Berdyaev, as well as letters submitted (...) on the occasion by Heidegger, Levinas, Jaspers, and other famous figures from that era. Concerned above all with the ineradicable felt value of human experience by which any philosophical thesis is measured, Wahl makes a daring clarification of the concept of transcendence and explores its repercussions through a masterly appeal to many (often surprising) places within the entire history of Western thought. Apart from its intrinsic philosophical significance as a discussion of the concepts of being, the absolute, and transcendence, Wahl's work is valuable insofar as it became a focal point for a great many other European intellectuals. Hackett has provided an annotated introduction to orient readers to this influential work of twentieth-century French philosophy and to one of its key figures. "Augmented by William C. Hackett's comprehensive introduction to Jean Wahl and his summary of Wahl's seminal "Human Existence and Transcendence," we now have Wahl's most important writings in English. The book presents the well-known ideas of transascendence and transdescendence and, in so doing, highlights the relevance of Wahl's 'philosophy of transcendence' today. Remarkable for its anticipations of later French thought, Wahl's work provides a key to much of what remains hidden in the tradition of twentieth-century French thought." Leonard Richard Lawlor, Edwin Erle Sparks Professor of Philosophy, Penn State University". (shrink)

Erst kommt das Leben, dann der Tod, denken viele. Doch schon das Verweilen vor einem Grab eröffnet einen Dialog, der das Band zwischen dem Vergangenen und Gegenwärtigen spürbar werden lässt: Das Band der Kommunikation zwischen den Toten und den Lebenden scheint unzerreißbar. Der Tod? der eigene und der der anderen - ist eine Kategorie des Lebens, die jeden von uns zur Auseinandersetzung zwingt.0Das Buch von Jean-Pierre Wils ist seit langer Zeit der erste, großangelegte Versuch einer Lehre vom Tod, einer (...) Thanatologie, die ein umfassendes Panorama entfaltet: Todesarten, Todesangst, Todeszeitpunkt werden zum Thema ebenso wie die Frage nach der Unsterblichkeit, dem angemessenen Trösten und den Riten der Bestattung. Angesichts des Todes kommt die Philosophie an ihre Grenze? darum holt der Autor der Philosophie eine?Weggefährtin auf der Erkundungsfahrt zum Tod? an die Seite, nämlich die Literatur. So wird das Buch zu einem einmaligen Grenzgang zwischen Philosophie und Literatur, zwischen Reflexion und Narration und beglaubigt den Satz von Saint-Exupéry:?Es wird aussehen, als wäre ich tot, und das wird nicht wahr sein.? (shrink)