L'aventure de Jacques et Raîssa Maritain constitue un parcours unique par son ampleur et son rayonnement. Centre de gravité de la vie spirituelle et littéraire pendant l'entre-deux-guerres, point de ralliement des générations perdues et refuge des poètes maudits, le couple tissa autour de lui le réseau d'influence le plus riche et foisonnant de l'histoire de ce siècle. Disciples de Bergson et de Léon Bloy, confidents de François Mauriac, de julien Green et de Jean Cocteau, amis de Péguy, de Mounier et (...) de Paul VI, et jetant entre les milieux littéraires, artistiques et catholiques d'invisibles passerelles, Jacques et Raïssa Maritain menèrent dans le même temps une expérience de vie spirituelle fascinante. Convertis à vingt ans, ils se firent tous deux messagers de Dieu sur les routes du monde, mendiants du Ciel au nom d'un nouvel humanisme, et ils s'engagèrent ensemble dans les combats essentiels de leur temps pour faire prévaloir en tous lieux la primauté du spirituel. On connaît l'œuvre philosophique considérable laissée par Jacques Maritain, qui garde une audience internationale. Mais cette première biographie, qui s'appuie entre autre sur une importante correspondance inédite, révèle la trame même d'une réflexion qui touche aux multiples domaine de la connaissance : une destinée d'errance et d'exil, de grandes amitiés et de combats souvent âpres contre l'injustice et les dérives du monde moderne, notamment celles de l'Eglise. C'est aussi la face invisible et secrète de la vie d'un couple qui nous est ici dévoilée. Unis par un amour fou et liés par un vœu de chasteté, les Maritainlivrèrent leur existence à Dieu sans partage, au prix pour Raïssa de "la plus dure mort à soi-même" et, pour tous les deux, d'une bouleversante solitude. (shrink)

When in October 2016 I started working on my book Jorge Mario Bergoglio. An intellectual biography I did not have the slightest idea of ​​the importance played by the figure and work of Gaston Fessard in the formation of Bergoglio’s thought. There was nothing to suggest that Gaston Fessard could be a relevant author for the intellectual formation of the future Pope. I was struck by the polar and dialectical model of thought that animated him, the possibility of harmonizing opposites, (...) of inviting concepts to a common table that apparently could not be approached, because it places them in a higher plane in which they find their synthesis. This paradigm, of the Church and of the Society of Jesus as complexio oppositorum, finds its verification, according to Bergoglio, in the way in which the Jesuits have achieved the inculturation of the faith in the indigenous peoples of Latin America. Bergoglio rereads Ignatius in the light of a dialectical model. As he will say in one of the interviews he gave me on the occasion of the writing of my book: “In Ignatian spirituality there is always this bipolar tension”. It is certainly an original, uncommon reading of Ignatius’s thought. It is the ideal factor that allows us to explain why Bergoglio, when in 1986 he went to Frankfurt to write his doctoral thesis, chose the Guardinian essay dedicated to the polar opposition. When I concluded my volume on the intellectual biography of the future Pontiff in February 2017, one element, however, remained obscure. Where, from which author had Bergoglio drawn his polar model? Where did your antinomic reading of Ignatian spirituality come from? Not by Guardini discovered philosophically in 1986. Francis indicated the starting point of his intellectual formation. The reading of Fessard’s La dialectique des Exercices spirituels de saint Ignace de Loyola, published in 1956, is the work that “ had a great influence “ on him. It is the work that clarifies Bergoglio’s antinomian thought, his subsequent ideal encounter with Guardini’s philosophy. (shrink)

Les historiens qui se sont intéressés à la sexualité au xviie siècle ont souvent noté qu’il était rare d’accéder à une parole féminine. Quelques bribes en subsistent pourtant, que délivrent les biographies et autobiographies spirituelles de femmes dévotes et les archives des tribunaux d’Église (Officialités). À partir de cette parole enchâssée dans d’autres discours – ceux des hommes et femmes d’Église qui les recueillent, ceux des juges qui les enregistrent –, opacifiée par des visées particulières – hagiographique ou (...) judiciaire –, censurée parfois, on ne peut espérer atteindre la réalité des pratiques sexuelles. En revanche, les silences qui la ponctuent donnent à voir l’importance de l’ignorance, de l’innocence et de la feinte dans l’expérience féminine de la sexualité depuis les fantasmes et les découvertes de l’enfance jusqu’aux premiers temps du mariage. (shrink)

Les biographies de poètes et d' écrivains sont beaucoup plus nombreuses que celles de philosophes. Pour expliquer ce phénomène il se présente sûrement plusieurs raisons. Je n'en veux souligner qu'une: l'apparente objectivité du système philosophique, qui se fonderait sur la distance de l'œuvre à l'égard de son auteur et sur l'absence de marques personnelles. Pourtant on peut accepter que l'interrogation philosophique soit intemporelle ou « perennis » tout en concevant qu'elle soit liée à l'époque dans la formulation des problèmes (...) et des solutions, dans la conception de son idéal. Elle Test ainsi à travers le sujet de l'acte de philosophie: l'homme, qui participe nécessairement à son époque tout en ayant la possibilité de la dépasser. Bien plus, ses intuitions polarisatrices, ses perspectives de base correspondent souvent à une mentalité, à des aspirations et à des besoins spirituels propres à cette époque. (shrink)

La nouvelle biographie de Colette vient satisfaire une curiosité qui ne faiblit pas depuis sa mort en 1954. Contrairement à tant de ses contemporaines dans le monde des lettres, aujourd'hui oubliées, Colette a gagné la bataille de la postérité. Sa vie toute en audace puis en sagesse, son œuvre sensuelle et spirituelle, enfin sa place paradoxale dans le siècle lui donnent en effet une envergure exceptionnelle. Colette était moderne et l'est restée. Claude Francis et Fernande Gontier, qu..

Henry More est le plus connu des Platoniciens de Cambridge et l’Enchiridion Metaphysicum, son dernier ouvrage, représente l’accomplissement de sa pensée. Il s’agit d’une enquête métaphysique dont le principal objectif est d’établir l’existence d’une substance immatérielle, d’une âme du monde, sorte d’intermédiaire entre Dieu et le monde par laquelle les choses agissent. More nous invite ainsi à découvrir la vraie métaphysique qui consiste en la découverte de la nature véritable de l’étendue des êtres spirituels comme Dieu, les anges et les (...) démons, l’espace, les âmes individuelles des hommes ou des bêtes. Ce manuel de métaphysique prend appui sur le mécanisme cartésien pour mieux le contredire et démontre que l’extension spirituelle est la principale qualité des esprits. Cette doctrine conduira More à re-diviniser l’espace pour l’instituer à l’instar des kabbalistes de l’école de Safed, comme lieu de la possibilité de l’existence du monde. More montre ainsi les limites des mécanismes d’Hobbes et de Descartes tout en essayant de composer avec d’autres savants mécanistes tels que Robert Boyle et Robert Hooke. Quelques années plus tard, à Cambridge, Newton, sur les pas d’Henry More, pensera la nature de son espace physique comme un espace de nature divine, comme un Sensorium Dei. ---------------------------------------------------------------------------------------------------- ------------- Biographie de l'auteur: Françoise Monnoyeur est Docent en philosophie (Associate Professor). Elle enseigne la philosophie et l’histoire des sciences en France, aux États-Unis et en Suède. Elle est chercheur associée au centre Jean Pépin, Paris, France. Ses principaux ouvrages portent sur Descartes, l’infini, la matière, la vie. (shrink)

The article is devoted to two talented representatives of the Russian university philosophical community of the first quarter XX century: Vasily Sesemann and Ksenia Miloradovich. It’s shown that their university routes are very similar, as far as it was possible for male and female biographies of that time. The most complete list of their original works published before 1922 is given. The thematic focus of their publications and journals in which they were published is compared and the translation activity (...) is analyzed. This allows us to see that in publications names of the “youth”: Vasily Sesemann, Ksenia Miloradovich, Sergey Hessen most often are supported by famous philosophers N.O. Lossky and S.E. Radlov. Based on the material of Ksenia Miloradovich's essay about the Philosophical Society, it’s emphasized that they were acquainted with each other in the philosophical workshop. The publications of Miloradovich and Sesemann made in the genre of reviews and not previously mentioned in their personal bibliographies, were revealed. It’s also shown that two historical events: the First World War (1914-1918) and the revolution of 1917 influenced the publishing capabilities of both philosophers. Nevertheless, until 1922 they continued to be active participants in the processes of reviving philosophical publications and the philosophical society. Lives of Sesemann and Miloradovich had the pathos of the drama of political arrests that trimmed their philosophical biographies, but both managed to make their contribution to the history of Russian philosophy. The article emphasizes that the enthusiasm of their creativity and the drama of their destinies can serve as an example of vitality and loyalty to the work. (shrink)

Das vorliegende Buch ist bereits der dreizehnte Band der Reihe Roman Imperial Biographies. Sein Verfasser, der an der Boise State University (Idaho) lehrende Althistoriker Charles Matson Odahl (O.), ist seit den späten 70er Jahren durch eine Reihe einschlägiger Publikationen zu Konstantin und der Spätantike hervorgetreten.

The article is dedicated to analyzing the nature of genius in the context of the development of fiction about artists. From the biographies of the famous Renaissance artists by G. Vasari, who made one of the first attempts at chronicling the lives of geniuses of his time, to modern fictionalized biographies of genius artists – we can trace the desire of writers to comprehend the nature of the artists and sculptors’ genius. The foundation of the concept of genius (...) can be found in Immanuel Kant’s works, which synthesized theories developed previously and influenced the understanding of genius by future generations. The paper analyses the consonance of Kant’s aesthetics with the concept of genius in fictionalized biographies of F. Goya, M. Bashkirtseva, V. van Gogh, P. Gauguin, O. Novakivskyi, K. Bilokur, P. Picasso, V. Tsymbal, S. Karaffa-Korbut and other artists, while focusing on the Ukrainian texts of the 20th–early 21st centuries. The research attempts to single out and analyze elements of conceptualizing the notion of genius in novels, including the concepts of the beautiful and the sublime in art, recognition of genius in society, the gender aspect of genius, the issues of heredity, and others. The representation of the image of genius in visual arts, iconography, and the cult of genius are discussed within an intermedial framework. The research relies on literary and art criticism methodology and comparative and intermedial studies. (shrink)

In her famous memoir Lost in Translation, the journalist and psychoanalyst Eva Hoffman describes her childhood metamorphosis from a Polish into a North American girl by reconstructing her experience with learning a new language. She equates this with loss and acquisition of identities. This article focuses on Hoffman’s interest in language as an identity issue since this is a highly relevant theme for migration researchers, particularly for those working with narrative material. The article explores the role of language in biographical (...) interviews with migrants and discusses language use as an instrument for data collection. It argues that we need to ensure a sensitive and vigilant handling of language in the interview setting, which takes into consideration context, coding, articulation and hybridity. The final part raises questions about the ways in which gender comes into play in migrants’ narratives. (shrink)

Al-Jabartī, ʿAjāʾib al-āthār fī l-tarājim wa-l-akhbār. Edited by Shmuel Moreh. Max Schloessinger Memorial Series, Texts, vol. 9. 5 vols. Jerusalem: Hebrew University, 2013. Pp. 2,780. $525.

ArgumentIn this paper I will argue that the scientific investigation of skulls and brains of geniuses went hand in hand with hagiographical celebrations of scientists. My analysis starts with late-eighteenth century anatomists and anthropologists who highlighted quantitative parameters such as the size and weight of the brain in order to explain intellectual differences between women and men and Europeans and non-Europeans, geniuses and ordinary persons. After 1800 these parameters were modified by phrenological inspections of the skull and brain. As the (...) phrenological examination of the skulls of Immanuel Kant, Wilhelm Heinse, Arthur Schopenhauer and others shows, the anthropometrical data was interpreted in light of biographical circumstances. The same pattern of interpretation can be found in non-phrenological contexts: Reports about extraordinary brains were part of biographical sketches, mainly delivered in celebratory obituaries. It was only in this context that moral reservations about dissecting the brains of geniuses could be overcome, which led to a more systematic investigation of brains of geniuses after 1860. (shrink)

One of his obituarists describes Colin Ward (1924-2010) as ‘as one of the greatest anarchist thinkers of the past half century’, ‘a pioneering social historian’ and a chuckling anarchist.1 In the p...

Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources (...) available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art. (shrink)

When social work emerged as a profession in the first decades of the 20th century, it was strongly influenced by emancipatory motives introduced by various sociocultural and religious movements, and at the same time devoted itself to the construction and maintenance of a powerful welfare and nation state. Transnational agents and social movements promoted these processes and played a crucial role in establishing and developing national welfare systems and relevant professional discourses. This article examines the gendered construction of the social (...) work profession through the transnational history of early social work between Germany and the Jewish community in Palestine in the first half of the 20th century. By adopting a biographical approach to the specific paths of Jewish women practitioners who had been educated in German-speaking countries, immigrated to mandatory Palestine, and engaged themselves in the emerging field of social work, we will trace the construction of the profession as deeply embedded in social power relations. At the same time, we will trace its (re)construction as led mainly by female pioneers, who were concerned with emancipation, discrimination and migration. (shrink)

Adventure -- Call -- Brother paul -- Transgression -- Two loves -- Freedom -- Interlude -- Freedom again -- Between Heidegger and Derrida -- Dancing in the void -- The advent of weak theology -- Kingdom.

Bien des difficultés que nous éprouvons à comprendre les oeuvres philosophiques des Anciens proviennent souvent du fait que nous commmettons en les interprétant un double anachronisme: nous croyons que, comme beaucoup d'oeuvres modernes, elles sont destinées à communiquer des informations concernant un contenu conceptuel donné et que nous pouvons aussi en tirer directement des renseignements clairs sur la pensée et la psychologie de leur auteur. Mais en fait, elles sont très souvent des exercices spirituels que l'auteur pratique lui-même et fait (...) pratiquer à son lecteur. Elles sont destinées à former les âmes. Elles ont une valeur psychagogique. (shrink)