Contemporary French Philosophy

Il gergo dell’origine: la creazione tra filosofia e teologia in Emmanuel Lévinas. Convegno internazionale: Narrations of Origins in World Cultures and the Arts, organizzato dalla European Society of Comparative Literature.
Università degli Studi di Torino.

Hisashi Fujita, "Désir et joie : deux philosophies politiques de la vie. Deleuze ou Bergson II", in Shin Abiko, Hisashi Fujita, Masato Goda (éds.), Tout ouvert : l'évolution créatrice en tous sens, Georg Olms Verlag : Hildesheim - Zürich - New York, coll. "Europaea Memoria" Band 114, 2015, pp. 225-247.

Quentin Meillassoux, "Metafísica y ficción extracientífica, seguido de "La bola de billar" de I. Asimov. Santiago: Roneo, 2020. Traducción y notas de Meillassoux por Jean-Paul Grasset B. Prólogo de Jean-Paul Grasset B. y Mario Teodoro Ramírez.
Traducción de 'La bola de billar" por Cristóbal Carrasco y Nicolás Vargas.

Generally categorized as low art, Japanese manga and anime draw insufficient overseas critical attention, regardless of their enormous cultural influence in East Asia. Their popularity not simply proved the success of cultural industrialization in Japan, but also marks a series of local phenomena, reflecting social dynamicity and complexity, that deserve interdisciplinary analysis. During the lost decade in the 1990s, which many scholars studied with economic accent (Katz 1998, Grimes 2001, Lincoln 2001, Amyx 2004, Beason and Patterson 2004, Rosenbluth and Thies 2010), manga and anime industry in Japan entered its golden age. The publication and broadcast of some remarkable works, such as Dragon Ball, Sailor Moon, Crayon Shin-chan and Slam Dunk, not only helped generate huge income (nearly 600 billion yen earned in the manga market in 1995) that alleviated economic depression, but also distracted popular focus from the urge of demythologising national growth.

This paper will focus on the TV-series version of Hideaki Anno’s Neon Genesis Evangelion (1995–1996), a well-received anime broadcast after the Great Hanshin earthquake and the Tokyo subway sarin attack perpetrated by terrorists of Aum Shinrikyo, both happening in 1995. I will base my discussion on some important concepts of Jean-Paul Sartre, such as le pour-soi (the for-itself) and bad faith, to illustrate how Hideaki Anno represents his protagonists as figures emancipated by existentialist morality. His frequent use of monologue in latter episodes individually enquiring the meaning of personal existence, following the dystopian fall of Tokyo-3, echoes the nihilistic context of both post-traumatic Europe and over-capitalized Japan. I argue that the subjective bonding between given existence of self-consciousness and innate search for fixing the purpose of being has pre-universalized relevant reflection. It sustains the celebrity of Neon Genesis Evangelion until now, especially when Japan has not yet recovered from the 2011 earthquake off the Pacific coast of Tohoku, which carried unresolved economic challenges.

Nous n'avons rien que ce qui est là, intérieur, Nous avons tout ce qui est là, intérieur. Comment saisir ce qui est là, intérieur, Puisque le vol aussi est là, intérieur. Rainer Maria Rilke, Pour Oskar Kokoschka LA PHÉNOMÉNOLOGIE DE LA VIE ET LE PROBLÈME DE L'INDIVIDU

Mini-Curso dividido em três partes:

1. Introdução
Em que discutiremos o diagnóstico de Badiou sobre o século vinte e o mundo contemporâneo, bem como as razões pelas quais a filosofia parece ter se tornado impossível hoje, localizando o próprio Badiou no interior desse mapeamento histórico e conceitual.

2. Filosofia e Ontologia
Em que partiremos das críticas à ontologia clássica para então demonstrar como a decisão de equacionar ontologia e matemática responde a elas adequadamente. Em seguida, analisaremos alguns conceitos da teoria dos conjuntos a fim de entender as consequências filosóficas da decisão de Badiou.

3. Verdade e verdades:
Em que as críticas relativistas ao tema da verdade serão tomadas como condições para uma nova doutrina da verdade. Veremos que a verdade é entendida como uma capacidade imanente a diferentes campos do pensamento, mas não à própria filosofia, cuja tarefa é pensar a compossibilidade das verdades amorosas, científicas, artísticas e políticas de uma época.

This paper is a speculative experimentation that aims to explore the relationship between desire and thinking. Deviating from the letter, it attempts to understand philosophy as the knowledge of desire, as much as the desire for knowledge. To do so, it starts with the figure of Erôs, as assimilated by Plato with the dialectical method and the nature of philosophical inquiry. It then turns toward French phenomenology, for which the caress is the embodiment of desire-so much so that the horizontal exploration of matter replaces the vertical ascension toward the intelligible. Finally, it focuses on the concept of the erogenous zone, which Deleuze borrows from psychoanalysis but transforms into an ontological category intimately associated with the image of thought. In these terms, philosophy can therefore be regarded as a caress.

We live in an age of movement. More than at any other time in history , people and things move longer distances, more frequently, and faster than ever before. All that was solid melted into air long ago and is now in full circulation around the world like dandelion seeds adrift on turbulent winds. We find ourselves, in the early twenty-first century, in a world where every major domain of human activity has become increasingly defined by motion. 1 We have entered a new historical era defined in large part by movement and mobility and are now in need of a new historical on-tology appropriate to our time. The observation that the end of the twentieth century and the beginning of the twenty-first was marked by an increasingly " liquid " and " mobile modernity " is now something widely recognized in the scholarly literature at the turn of the century. 2 Today, however, our orientation to this event is quite different. Almost twenty years into the twenty-first century we now find ourselves situated on the other side of this heralded transition. The question that confronts us today is thus a new one: how to fold all that has melted back up into new solids. 3

This thesis explores Maurice Blanchot’s notion of the “limit-experience” through a close reading of Thomas the Obscure. I examine Blanchot’s notion of the limit-experience through Thomas’ symptoms of psychosis and melancholia. These symptoms are important for understanding the “limit-experience” because they show the corrosive force of language on identity. Blanchot emphasizes the limits to thought and knowledge that is outside of the lived experience. I argue that Thomas’ “limit-experience” depicts a missed experience that includes both self and the other relations. Further, I suggest that Blanchot provides a unique account of what it is to put being into question but that he does so in literature. His récit will be examined here accordingly in terms of the way it enacts a questioning of the “limit-experience”.

The notion of the “limit-experience” hinges upon the idea that language is a counter-world to the real. Language is portrayed as an absence and presence that conceals and reveals being. I trace this thought through the narration of Thomas’ presence that is pushed to the extreme limits of experience and knowledge. I approach Thomas’ series of “limit-experiences” through a twofold perspective as I investigate his relationship with “the image” and “the symbol”. I argue that these two relationships with the anterior link Thomas’ being-in and for-itself (consciousness) to culture/ presence/ “I”.

Openbaring betreft de boodschap van een waarheid die groter is dan we misschien aankunnen. Het betekent een inbreuk op de orde die we in het dagelijks leven nastreven en is in dat opzicht een trauma, dat dwingt tot een herziening van ons bestaan. Onze moderne cultuur heeft het echter verbannen uit het rijk van rationaliteit en wetenschap. Dit essay gaat het trauma van openbaring niet uit de weg, maar zoekt het op. Want kan onze humaniteit wel zonder openbaring? Slagen we erin werkelijk mens te zijn nadat we openbaring succesvol uit onze cultuur hebben verdreven?
Over o.a. Levinas, Lacan, Michel Henry

Blanchot y Foucault son dos pensadores fundamentales para la filosofía francesa contemporánea. Sus ideas permiten abrir el debate sobre la inestabilidad, la discontinuidad y la posibilidad de resistencia al poder. Blanchot muestra que la literatura es peligrosa para el statu quo en tanto pone en cuestión toda institucionalización del poder; ella barre con todo, incluso con el autor que le da origen. Así, la literatura es un espacio de des-autorización a toda interpretación final. La idea de Blanchot se resume en la frase de Barthes de "la muerte del autor". Si el autor ya no es el epicentro, ¿quién es entonces el que resiste? La pregunta no es baladí, toda vez que Blanchot mismo puede ser considerado como un intelectual público, preocupado de los problemas políticos de su tiempo y comprometido con ciertas causas. ¿Representa la postura de Blanchot una "falta de coraje" a la hora de enfrentar intelectualmente al poder? En esta ponencia argumentaré que, mirado desde la noción de parresia -desarrollada por Foucault en sus últimos años de vida, que relaciona poder, verdad y enunciación de discurso- la muerte del autor que propone Blanchot no es más que una rearticulación contingente de la noción de sujeto, lo cual permite abandonar los problemas que trae consigo su conceptualización en términos de continuidad, transparencia y universalismo, que es justamente lo que la "muerte del autor" cuestiona. A cambio, esta lectura del sujeto contingente pone de relieve que el discurso desarticulador blanchotiano no puede prescindir de ejercer violencia.

RESUMEN
La relación interna entre filosofía, literatura y arte permite examinar con propiedad qué significan la pluralidad y complejidad en los usos de la razón. Posibilita la aproximación a esos usos y figuras desde un ángulo privilegiado. El interés por lo literario y artístico no tendría por qué significar un apresurado abandono del modelo discursivo y analítico -que es característico de la filosofía-, sino más bien el acceso a un punto de vista más completo, un nuevo método reflexivo, otro límite crítico. Esta perspectiva facilita la puesta al día de las tesis modernas sobre la filosofía como emancipación, esto es, como su salida de la minoría de edad.
Espacios ficcionales, campos de proyección de la experiencia, métodos y perspectivas trasdisciplinarias constituyen los distintos niveles a través de los cuales se trata de definir un nexo complejo entre discursos. La ficción como conocimiento, subjetividad y texto, así como la relación entre mundo y lenguaje pretenden acotar algunas dimensiones de esa relación.
A través de la literatura llegamos a estar familiarizados con situaciones, sentimientos, formas de vida, obteniendo así una mirada desde dentro -epistemológicamente empática-. Cada nueva visión del mundo constituye un nuevo tipo de conocimiento, un conocimiento que puede incluir aspectos cognitivos y emotivos y que demandará, probablemente, algún tipo de lógica paraconsistente. De modo que a la par que por nuestras narrativas creamos o descubrimos mundos (dependiendo del estatuto ontológico otorgado a la ficción) también establecemos o desentrañamos la legislación lógica, según la cual tal curso de sucesos o tal tipo de entidades son o no admisibles al interior de este particular mundo posible.
Precisamente, es en la constante re-creación de sus objetos, práctica que surge en una comunidad de problemas -un espacio de representación colectiva- el espacio en que se da la ciencia. Es, precisamente, en una particular forma de hablar y de referirse a objetos, creándolos con el habla, el que funda a la medicina -por ejemplo- como cuerpo autónomo de conocimientos, vale decir como ciencia de primer orden. Las disciplinas, pues, en tanto discursos, están, literalmente, constituidas por él. Por ello es necesario estudiar el discurso científico en tanto que discurso, hay que reflexionar sobre sus orígenes y modo de constitución, hay que aceptar que no es sólo un producto sino una fuerza productiva. La realidad es una narrativa exitosa. Es aquello que se hace hablando. Las comunidades científicas son comunidades de problemas y, sobre todo, de retóricas, reconstrucciones de objetos que sólo existen en tanto se habla de ellos de una determinada manera,
Hasta los mundos narrativos más imposibles tienen como fondo lo que es posible en el mundo que concebimos como real. Las entidades y situaciones que no son explícitamente nombradas y descritas como diferentes del mundo real son entendidas a partir de las leyes que aplicamos a la comprensión del mundo real.
Así, pues, la narración de ficción construye un modelo análogo del universo real, una proyección...lo que permite conocer la estructura y los procesos internos de la realidad y manipularla cognitivamente. Se otorga así un valor cognoscitivo a la ficción, de modo tal que todas las posibles connotaciones, no expresadas directamente por el texto, sino -más bien- mostradas implícitamente o implicadas contextualmente en lo allí dicho, iluminan aspectos de la realidad que sin estas extrapolaciones ficcionales permanecerían en penumbras.
La perspectiva crítica -propia de la filosofía- puede hallarse así implícita en escritos de ficción, de la misma manera como las teorías filosóficas pueden aceptar como suyos a los argumentos procedentes del discurso literario. La reflexión filosófica se articula, pues, desde distintos ámbitos y modalidades discursivas.
Dr. Adolfo Vásquez Rocca

Buscamos apresentar, em linhas gerais e bastante reduzidas o que era a psicoterapia institucional, para Tosquelles e Oury e o primeiro Guattari de Psicanálise e transversalidade. A minha fala visa apresentar a maneira como Tosquelles pensava a esquizofrenia e sua influência tanto em Anti-Édipo quanto em Caosmose. Assim, num primeiro momento a transformação será pensada a partir da experiência vivida da psicose, como elaborada por quem a vive. Em seguida, trata-se de tecer as consequências dessa compreensão de esquizofrenia, para o diagnóstico de outros processos de transformação, não apenas esse caso limite, em que a transformação incide sobre o "eu". A esquizofrenia seria assim, uma experiência limite, uma espécie de fundo ou base de todas as outras formas de subjetivação, neuróticas, perversas, normais. Assim, vou tratar não apenas de Tosquelles, mas também da maneira como a esquizofrenia e outras formas de subjetivação aparecem em Caosmose e além disso, do conceito de corpo sem órgãos em Anti-Édipo, porque ele é fundamental para que Deleuze e Guattari possam também pensar outras formas de transformação, outros devires, inclusive em uma escala molecular, microscópica, imperceptível. Nosso objetivo principal aqui é demonstrar a influência de Tosquelles no desenvolvimento do trabalho de Deleuze e Guattari em torno da esquizofrenia. *** Guattari trabalhou em La Borde, desde 1955, a convite de Jean Oury, seu fundador e principal animador. Nos anos cinquenta, a psiquiatria francesa era sórdida. Os psicóticos eram objeto de um tratamento desumano e assumiam posturas bestiais. Mas, em La Borde, o que se via era muito diferente. Guattari comenta então a contribuição e o papel de Tosquelles na clínica de Saint Alban, onde Oury aprendeu o ofício da psiquiatria. Em Saint-Alban [...] se produzira, durante a guerra, uma verdadeira revolução interna através da luta pela sobrevivência coletiva, a abertura para o exterior, a introdução de métodos de grupo, de ateliês, de psicoterapias ... Também eu, antes de encontrar Jean Oury, acreditava que a loucura encarnava um tipo de avesso do mundo, estranho, inquietante e fascinante. No estilo de vida comunitária que era então o de La Borde naqueles anos, os doentes me apareceram sob um ângulo completamente diferente: familiares, amigáveis, humanos, dispostos a participar da vida coletiva em todas as ocasiões onde isso era possível. Uma verdadeira emulação existia no seio das reuniões cotidianas do pessoal (às seis horas da tarde) para levar ao conhecimento de todos o que havia sido feito e dito ao longo do dia. Tal doente catatônico acabava de falar pela primeira vez. Um outro fora, ele mesmo, trabalhar na cozinha. Uma maníaco-depressiva havia causado algumas perturbações durante as compras em Blois. (GUATTARI, 1992, p. 183)

Chapter 3 in Mark Bosco, SJ, and Brent Little, eds. _Revelation and Convergence: Flannery O'Connor and the Catholic Intellectual Tradition_.  Washington, DC: Catholic University of America Press, 2017. 78-98.  Discusses Flannery O'Connor's narrative approach to the possibility of a fictional knowledge of another person's heart by positioning her narrative ideas and practices within a debate (of which O'Connor was aware) carried out between François Mauriac and Jacques Maritain, and recently developed further by Jean-Louis Chrétien in his two volume _Conscience et roman_.

Este artigo propõe pensar o método arqueológico de Michel Foucault, exposto em "As Palavras e as Coisas" e em "Arqueologia do Saber", e como este se catalisa a partir da obra de Borges, relacionando-se intimamente com a Literatura. Para tal, analisar-se-á, primeiramente, algumas marcas epistemológicas e metodológicas de Foucault, tais com o estruturalismo e a hermenêutica, para, então, se retomar as passagens de Borges na obra do filósofo e se estabelecer as possíveis reverberações e impactos do autor argentino no método arqueológico, marcando-se, assim, a importância dos operadores estético-literários no pensamento de Michel Foucault.

This article intends to think about Michel Foucault's archaeological method, exposed in "The Order of Things" and "The Archeology of Knowledge", and how it is closely related to Literature, being catalyzed by Borges' works. In order to do so, it will first analyze some Foucault's epistemological and methodological marks, such as structuralism and hermeneutics, in order to resume Borges's passages in the work of the philosopher and to establish the possible reverberations and impacts of the Argentine author in the archaeological method-thus marking the importance of the aesthetic-literary operators in the thinking of Michel Foucault.

Este artículo propone pensar en el método arqueológico de Michel Foucault, expuesto en "Las Palabras y las Cosas" y en "La Arqueología del Saber", y cómo se cataliza a partir del trabajo de Borges, estrechamente relacionado con la literatura. Para hacerlo, primero analizaremos algunas marcas epistemológicas y metodológicas de Foucault, como el estructuralismo y la hermenéutica, para reanudar los pasajes de Borges en el trabajo de lo filósofo y establecer las posibles reverberaciones e impactos del autor argentino en el método arqueológico-marcando así la importancia de los operadores estético-literarios en el pensamiento de Michel Foucault.

Hasta mediados de la década de 1990, Canguilhem era considerado un filósofo relevante pero “menor” , destacando por el magisterio que ejerció sobre pensadores más conocidos, como Michel Foucault, Pierre Bourdieu o Louis Althusser y su círculo. Más que un filósofo en el pleno sentido de la palabra, se le consideraba como un autor con una obra relativamente reducida, muy confinada en el terreno específico de la historia de la medicina y de las ciencias de la vida, encuadrado en la denominada “escuela de epistemología histórica francesa” (Cavaillés, Koyré, Bachelard, Foucault). Los estudios existentes, poco numerosos hasta los años noventa, lo presentaban como heredero del tipo de historia de las ciencias forjada por Gaston Bachelard (a quien sucedió en 1955 como director del Institut d’Histoire des Sciences. Esta situación comenzó a cambiar radicalmente a partir de 1994. Se empezaba a poner al descubierto un “Canguilhem perdido” (Braunstein), un “Canguilhem antes de Canguilhem” (Braunstein), de modo que la que se estimaba como su opera prima (el Essai concernant le normal et le pathologique, de 1943) era en realidad una investigación de madurez

Ce nouvel essai de Bernard Stiegler, qui sera suivi d'un second volet consacré au savoir et à son avenir, porte sur ce que l'auteur croit pouvoir déceler sous le nom d' « automatisation » de la société, laquelle présente ici deux aspects : d'une part, la disparition programmée de l'emploi du fait de la robotisation progressive de tous les secteurs d'activité ; d'autre part, et plus fondamentalement, la « prolétarisation » des activités noétiques elles-mêmes, induite par la phase numérique de l'âge de l'information où les algorithmes et les big data prennent de vitesse l'entendement du citoyen-consommateur, ainsi devenu pulsionnel.

To Avoid misunderstanding, I should note at once that my point of view is here not that of the mere logic of ideas and doctrines, but that of the concrete logic of the events of history.
From the first point of view, that of the mere logic of ideas and doctrines, it is evident that there are many possible positions other than the “pure” positions which I shall examine. One might ask theoretically and in the abstract, what value these various positions have. That is not what I plan to do. In a word, my point of view is that of the philosophy of culture, and not that of metaphysics.

This essay reflects on the rhythmic and performatic dimension of the archipelago in order to use it as a heuristic tool to understand the “intelligence” of the Smart City. Recognising the “smart ideology” which has brought to the actual “algorithmic governmentality”, and to the image of the network as keyword for describing any kind of relation in the present, the aim is to propose the idea of the archipelago, through Caribbean authors Antonio Benítez Rojo and Edouard Glissant, as an alternative orientation which gives place to a new understanding of collective intelligence.

During the darkest years of the Second World War, the French esthetician Etienne Souriau (long forgotten and recently rediscovered) carried out an original pluralist ontology essay centered around the notion of " mode of existence ". Unlike the better-known (and then in vogue) Jamesian pluralism (which we defne here as a pluralism of " ontic " type) to Souriau is characterized by the fact of being an " existential " pluralism, a pluralism that is of the " modes " (or " genres ") of existence. And how many of these modes? You can count them on the fngers of your hand? In what appears as an unprecedented enquiry on being, Souriau addresses two different existential cycles: during the frst, which aims to investigate the " ontic reign " starting from the mode of being of the phenomenon he retrieves three modes of existence " in aseity " (the phenomenon, the thing and the soul) and the same " in abaliety " modes (the imaginary, the possible and the virtual). In the second, which investigates instead the world of the " synaptic " Souriau identifes at least two bearing modes: that of the event, and to a somewhat enigmatic reality " supra-existential ". In this original ontology of the modes of existence, which is a kind of unicum in the philosophy of the twentieth century, this contribution has no other ambition than to provide a short introduction.

Michel Foucault est encensé pour avoir amené la philosophie hors de ses sentiers battus, dans les mondes interlopes de la folie, du crime et de la sexualité ; il est célébré pour avoir abordé la diversité des concepts de savoir, de pouvoir et de sujet sans avoir cherché à construire un système philosophique ; et il est magnifié pour avoir fourni une « boîte à outils » dont on pourrait se servir à l'envie pour dynamiter toutes les évidences. Mais derrière cette apparence de curiosité disparate se cache une constance philosophique qui vise à donner une image foncièrement nouvelle de ce que c'est que savoir en Occident : à quelles contraintes historiques la formation de nos savoirs at -elle été liée ? De quels formidables asservissements au pouvoir l'accumulation de savoir se paye-t-elle ? De quelles possibilités de transfiguration de notre être même de sujet le savoir peut-il s'accompagner ? Cette problématique d'un matérialisme du savoir, Foucault l'affronte par l'inscription du savoir dans l'expérience, et son enquête philosophique se noue autour de l'unité du concept d'expérience à travers trois axes : les conditions de formation de l'expérience du savoir, son processus de constitution et les transformations possibles qui lui sont associées. Or, en ce noeud de l'expérience du savoir, la philosophie de l'expérience s'échange en une expérience de la philosophie où nous sommes nous-mêmes convoqués à traverser ce qui nous a fait être ce que nous sommes. L'attitude expérimentale en philosophie qu'invente Foucault nous place alors devant une tâche insoupçonnée : nous mettre à distance de ce que nous sommes pour devenir un autre nous-mêmes. Pierre Sauvêtre

Recensione di Rudy M. Leonelli (cura), Foucault-Marx. Paralleli e paradossi, Bulzoni Editore, Roma 2010 (146 p.) L'ossimoro del titolo sta ad indicare la difficoltà di tracciare in modo univoco e lineare le caratteristiche del rapporto tra Foucault e Marx, il modo singolare in cui prossimità e distanza si intrecciano nella loro produzione intellettuale. Ciò rende molto arduo il tentativo di definire la posizione del primo verso il secondo: continuità, rottura, fedeltà, rifiuto; sono aspetti che si sovrappongono agli occhi del lettore. Per questo motivo affrontare il parallelo tra i due grandi autori richiede cautela, la messa da parte di facili schematismi e pregiudizi, e la pazienza di confrontarsi con una impegnativa massa di scritti, sia pubblicati che d'occasione, eterogenei, alcuni a un primo sguardo contraddittori, comunque difficili da legare in un insieme coerente e unitario.

Animatic apparatus; history of animism; history of mechanism; animation; animatic automaton; animatic; automaton; robot; cyborg; vital machine; cinema; anima; plasmaticness; simulacrum; lifedeath; the living dead; the uncanny; simulation; representation; the Death Drive; the evil demon; the crypt, the haunted house, of cinema; cinema studies; animation studies; theory of animation; Film Studies; film theory; film philosophy; philosophy; humanities; J. David Bolter; Ctesibius, Hero of Alexandria, and Philo of Byzantium; Jacques de Vaucanson; Pierre Jacquet-Droz; Frederik L. Schodt; Mary Shelley; Frankenstein; René Descartes; La Mettrie; Donald Crafton; David F. Channell; Sergei Eisenstein; Roland Barthes; Jacques Derrida; Sigmund Freud; Philippe Lacoue-Labarthe; the Mystic Writing Pad; Thierry Kuntzel; Sigvard Strandh; Gilles Deleuze; Jean Baudrillard; Philip Brophy; Franz Kafka; Plato; Jean-Pierre Vernant; Tom Gunning; C.W. Ceram; Villiers de l’Isle-Adam; L’Eve future; Blade Runner

Jean-Paul Sartre is often seen as the quintessential public intellectual, but this was not always the case. Until the mid-1940s he was not so well-known, even in France. Then suddenly, in a very short period of time, Sartre became an intellectual celebrity. How can we explain this remarkable transformation?
The Existentialist Moment retraces Sartre s career and provides a compelling new explanation of his meteoric rise to fame. Baert takes the reader back to the confusing and traumatic period of the Second World War and its immediate aftermath and shows how the unique political and intellectual landscape in France at this time helped to propel Sartre and existentialist philosophy to the fore. The book also explores why, from the early 1960s onwards, in France and elsewhere, the interest in Sartre and existentialism eventually waned. The Existentialist Moment ends with a bold new theory for the study of intellectuals and a provocative challenge to the widespread belief that the public intellectual is a species now on the brink of extinction.

Il senso del segreto si compone di approfondimenti tematici su cinque filosofi che hanno indagato la questione del segreto e della segretezza, attraverso un confronto – spesso esplicito, talvolta latente – con l’opera di Marcel Proust. Da Walter Benjamin a Georges Bataille, da Maurice Blanchot a Jacques Derrida, passando per Gilles Deleuze, il volume mette in chiaro l’influenza che la Recherche ha esercitato sulla filosofia del Novecento, disegnando anche un affresco sul rapporto tra filosofia e letteratura, due discipline che indagano lo stesso ordine di questioni con voci e consistenze irriducibilmente diverse.

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The topic of Internet ethics is vitally important for today. Just over a decade ago, questions surrounding the ethics of Internet usage were virtually non-existent since the World Wide Web was commercialized in the mid to late 1990s. Central to questions of Internet ethics is the phenomenon of the temptation of temptation. Twentieth-century Jewish philosopher, Emmanuel Levinas (1906-1995), articulates this phenomenon in his 1964 Talmudic reading entitled, " The Temptation of Temptation. " What he means by this title is the human experience of the temptation of knowledge in which " what tempts the one tempted by temptation is not pleasure but the ambiguity of a situation in which pleasure is still possible but in respect to which the Ego keeps its liberty, has not yet given up its security, has kept its distance…What is tempting is to be simultaneously outside everything and participating in everything. " Being tempted by temptation signifies the experience of an insulated and autonomous self before a world of knowledge and pleasure at one's fingertips. The phenomenon of a blinking cursor in the blank box of a search engine initiates the human person into the temptation of temptation, i.e., the unlimited scope of possibilities which present themselves under the push of a button. This paper will argue that the temptation of temptation, as manifest in the phenomenon of the power and ambiguity of Internet search engines, reinforces the meaning of original sin in which humanity rejects the clarity and demands of divine law in search for its own laws and meaningfulness. By drawing especially from the work of Levinas, it will be cogently demonstrated that the foundation of Internet ethics is to be constructed by foregoing the right to the temptation of temptation in the name of a responsibility before and behind every genuinely human act.

In his lectures on the 'Birth of Biopolitics' (1979) Michel Foucault seems to be 'seducted' by the Liberalism he studies, to the point that it is difficult to understand the meaning of his 'critique'. In this essay I intend to show Foucault's closeness, towards the end of the Seventies, to the thought of Pierre Rosanvallon and of the 'Second Left', attempting to characterize Fou-cault's critique as a 'Metacritique of Liberalism'.

Albert Camus' philosophischer Essay Le mythe de Sisyphe. Essai sur l'absurde (Der Mythos von Sisyphos. Ein Versuch über das Absurde) ist zwischen 1936 und 1941 entstanden; er erschien 1942 -im selben Jahr wie L 'étranger (auf die Zusammenhänge zwischen dem Essay und diesem Roman kann hier nur hingewiesen werden). Der Mythos von Sisyphos ist neben L'homme révolté (Der Mensch in der Revolte) von 1951 Camus' theoretisches Hauptwerk, das nicht nur für sein eigenes Denken von zentraler Bedeutung ist, sondern auch einen großen Einfluß auf das zeitgenössischeinsbesondere französische -philosophische Denken ausgeübt hat.

Ce texte d'une conférence donnée en avril 2019 pour le colloque "Desining Community" propose une théorie critique de la participation en relation avec les enjeux du co-design, en vue d'une "mésopolitique", c'est-à-dire d'une politique des milieux de vie.

ENGLISH:
The recent triumph of Conchita Wurst –a transgender artist who, acting as Austria’s representative, won the 2014 edition of the singing contest Eurovision –allows us to test Deleuze and Guattari’s concepts of desire as a positive potential of production and of becoming (woman) as the process of realizing this potential. Conchita’s online and media appearances triggered numerous reactions full of hatred, and her figure was often equated with that of the monstrous –the bearded lady, the deformity, the ‘freak’. From a Deleuzian and Spinozist standpoint, I will consider whether the force producing these reactions could be the force of a sad passion: the envy towards a becoming that challenges the binary social machine and reveals another face of the monstrous. Not the soothing organic counterpart of the ‘well constituted’ subjectivity, but a new subjective figuration whose ‘sustainability’ involves a different rapport with change.

ESPAÑOL:
El reciente triunfo de Conchita Wurst –artista transgénero que, representando a Austria, resultó ganadora en la versión 2014 del concurso de canto Eurovisión –permite poner a prueba los conceptos deleuziano-guattarianos del deseo como potencia positiva de producción y del devenir (mujer) como proceso de realización del deseo. Las apariciones mediáticas y virtuales de Conchita provocaron numerosas reacciones de odio en las que su figura es frecuentemente asimilada a la de lo monstruoso: la mujer barbuda, la deformación, el “freak”. En clave deleuziana y spinozista, me preguntaré si la fuerza que produce estas reacciones no es acaso la de una pasión triste: la envidia ante un devenir que desafía la máquina social binaria y que revela otra cara de lo monstruoso. Ya no la contratara orgánica y tranquilizadora de la subjetividad “bien constituida”, sino una nueva figuración subjetiva cuya “sustentabilidad” pasa por otra relación con el cambio.

Jean-François Lyotard's film philosophy stems from his theory of “libidinal economy” expounded in the 1970s. He presents the basic characteristics of the film as libidinal dispositif by analyzing the representative space of theater and the division and the function of triple space. Back to the moving nature of cinema, Lyotard puts forward two types of film forms against the libidinal dispositif: immobility and agitation in the experimental films and underground films. For feature films and historical essay films，excessive accumulation of the representations of reality will lead to the so called“metamorphose of seduction”. In Italian neo-realism films，those shots of ordinary items such as pan that describe everyday experience will break through the authority of libidinal device and express the sovereignty of film oriented toward future. This paper is wrote in Chinese.