Merleau-Ponty has long been known as one of the most important philosophers of aesthetics, yet most discussions of his aesthetics focus on visual art. This book corrects that balance by turning to Merleau-Ponty's extensive engagement with literature. From Proust, Merleau-Ponty developed his conception of “sensible ideas,” from Claudel, his conjoining of birth and knowledge as “co-naissance,” from Valéry came “implex” or the “animal of words” and the “chiasma of two destinies.” Literature also provokes the questions of expression, metaphor, and truth and the meaning of a Merleau-Pontian poetics. The poetic of Merleau-Ponty is, the book argues, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. Ultimately, theoretical figures or “figuratives” that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression.
Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. Emmanuel Alloa retraces the history of Western attitudes toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices.
In this book, Emmanuel Alloa offers a handrail for venturing into the complexities of the work of the French philosopher Maurice Merleau-Ponty (1908–61). Through a comprehensive analysis of the three main phases of Merleau-Ponty’s thinking and a thorough knowledge of his many unpublished manuscripts, the author traces how Merleau-Ponty’s philosophy evolved and exposes the remarkable coherence that structures it from within. Alloa teases out the continuity of a motive that traverses the entire oeuvre as a common thread. Merleau-Ponty struggled incessantly against any kind of ideology of transparency, whether of the world, of the self, of knowledge, or of the self’s relation to others. Already translated into several languages, Alloa’s innovative reading of this crucially important thinker shows why the issues Merleau-Ponty raised are, more than ever, those of our time.
In By Way of Obstacles, Emmanuel Falque revisits the major themes of his work—finitude, the body, and the call for philosophers and theologians to “cross the Rubicon” by entering into dialogue—in light of objections that have been offered. In so doing, he offers a pathway through a work that will offer valuable insights both to newcomers to his thought and to those who are already familiar with it. For it is only after one has carved out one’s pathway that one may see more clearly where one has been and where one might be going. Here readers will discover the profound relation between Falque’s emphasis on the human experience of the world and his desire for philosophy and Christian theology to enter into conversation. For only by speaking within the human horizon of finitude can Christianity be credible for human beings, and it is because Christian theology teaches that God entered into our finitude that it can also teach us something of what it is to be human. Contemporary phenomenology, Falque warns, over-privileges an encounter with the infinite that cannot be originary. Calling us back to finitude, he calls us to a deeper understanding of our humanity.
Merleau-Ponty has long been known as one of the most important philosophers of aesthetics, yet most discussions of his aesthetics focus on visual art. This book corrects that balance by turning to Merleau-Ponty's extensive engagement with literature. From Proust, Merleau-Ponty developed his conception of “sensible ideas,” from Claudel, his conjoining of birth and knowledge as “co-naissance,” from Valéry came “implex” or the “animal of words” and the “chiasma of two destinies.” Literature also provokes the questions of expression, metaphor, and truth and the meaning of a Merleau-Pontian poetics. The poetic of Merleau-Ponty is, the book argues, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. Ultimately, theoretical figures or “figuratives” that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression.
It has been 25 years since Dominique Janicaud derisively proclaimed the “theological turn” in French phenomenology due to the return of God to philosophy through the influence of “religious” thinkers such as Lévinas, Ricoeur, and Marion. Since then, the “theological turn” has flowered into a fully-fledged movement on both sides of the Atlantic. But, what will be the shape and direction of the second generation of the “theological turn”? In this important new book, Emmanuel Falque engages with all the major twentieth-century French phenomenologists—something heretofore unavailable in English. He argues that rather than being content to argue for the return of God to philosophy, something fought for and developed by the foregoing generation of the “theological turn,” it is necessary to stage a philosophical confrontation, or disputatio, with them and their work in order to ensure the ongoing vitality of the unexpected contemporary relationship between philosophy and theology. Drawing on the legacies of Jaspers and Heidegger, who both staged their own “loving struggles” to arrive at defining philosophical conclusions, Falque confronts, interrogates, and learns from his most influential philosophical forebears to steer the “theological turn” in a new direction. Offering a novel and creative philosophy of the body, Falque argues for a reorientation of philosophy of religion generally and the “theological turn” specifically from a philosophy of revelation from above to a philosophy of the limit from below. nology due to the return of God to philosophy through the influence of “religious” thinkers such as Lévinas, Ricoeur, and Marion. Since then, the “theological turn” has flowered into a fully-fledged movement on both sides of the Atlantic. But, what will be the shape and direction of the second generation of the “theological turn”? In this important new book, Emmanuel Falque engages with all the major twentieth-century French phenomenologists—something heretofore unavailable in English. He argues that rather than being content to argue for the return of God to philosophy, something fought for and developed by the foregoing generation of the “theological turn,” it is necessary to stage a philosophical confrontation, or disputatio, with them and their work in order to ensure the ongoing vitality of the unexpected contemporary relationship between philosophy and theology. Drawing on the legacies of Jaspers and Heidegger, who both staged their own “loving struggles” to arrive at defining philosophical conclusions, Falque confronts, interrogates, and learns from his most influential philosophical forebearers in order to steer the “theological turn” in a new direction. Offering a novel and creative philosophy of the body, Falque argues for a reorientation of philosophy of religion generally and the “theological turn” specifically from a philosophy of revelation from above to a philosophy of the limit from below.
In France today, philosophy—phenomenology in particular—finds itself in a paradoxical relation to theology. Some debate a “theological turn.” Others disavow theological arguments as if such arguments would tarnish their philosophical integrity, while nevertheless carrying out theology in other venues. In Crossing the Rubicon, Emmanuel Falque seeks to end this face-off. Convinced that “the more one theologizes, the better one philosophizes,” he proposes a counterblow by theology against phenomenology. Instead of another philosophy of “the threshold” or “the leap”—and through a retrospective and forward-looking examination of his own method—he argues that an encounter between the two disciplines will reveal their mutual fruitfulness and their true distinctive borders. Falque shows that he has made the crossing between philosophy and theology and back again with audacity and perhaps a little recklessness, knowing full well that no one thinks without exposing himself to risk.
The special role of psychoanalysis in the development of phenomenology The confrontation between philosophy and psychoanalysis has had its heyday. After the major debates between Paul Ricoeur, Maurice Merleau-Ponty, Jacques Derrida, Gilles Deleuze, and Michel Henry, this dialogue now seems to have broken down. It has therefore proven necessary and gainful to revisit these debates to explore their re-usability and the degree to which they can provide new insights from a contemporary point of view. It can be said that contemporary philosophy suffers from an ‘excess of meaning’, and this is exactly where psychoanalysis comes in and may raise key questions. This is precisely what a philosophical reading of Freud demonstrates. To say ‘Nothing to It’ indicates that the ‘It’—or Freudian Id—is not visible as it never shows itself as a ‘phenomenon’. Such a reading of Freud exemplifies how psychoanalysis has a special role to play in phenomenology's development. Translators: Robert Vallier (DePaul University), William L. Connelly (The Catholic University of Paris)
Hiding the Guillotine examines the question of state involvement in violence by tracing the evolution of public executions in France. Why did the state move executions from the bloody and public stage of the guillotine to behind prison doors? In a fascinating exploration of a grim subject, Emmanuel Taïeb exposes the rituals and theatrical form of the death penalty and tells us who watched, who participated in, and who criticized (and ultimately brought an end to) a spectacle that the state called "punishment." France's abolition of the death penalty in 1981 has long overshadowed its suppression of public executions over forty years earlier. Since the Revolution, executions attracted tens of thousands of curious onlookers. But, gradually, there was a shift in attitude and the public no longer saw this as a civilized pastime. Why? Combining material from legal archives, police files, an executioner's notebooks, newspaper clippings, and documents relating to 566 executions, Hiding the Guillotine answers this question. Taïeb demonstrates the ways in which the media was at the vanguard of putting an end to the publicity surrounding the death penalty. The press had ample reason to be critical: cities were increasingly being used for leisure activity and prisons for those accused of criminal activity. The agitation surrounding each execution, coupled with a growing identification with the condemned, would blur these boundaries. Ranked among the top hundred history books by the website, Café du Web Historizo, Hiding the Guillotine has much to impart to students of legal history, human rights, and criminology, as well as to American historians.
Before the shattering of the Napoleonic empire in 1815, Count Las Cases had served loyally for many years in the council of state. However, his most important service was to come after he followed his Emperor into exile on St. Helena. During his time with Napoleon on the “Rock in the Atlantic”, he was to write down all that he heard from the Emperor’s mouth, as clear a stream of his thoughts and reminiscences as were ever recorded. He was to eventually publish these entries as the “Memoirs of the life...”, also known as the Mémorial de St. Hélène. They stand as a classic not just of the history of Napoleon’s times, but also of the history of the first year of his banishment. Ranging from his earliest days in Corsica to the ranging battlefields of his career, Napoleon speaks through these pages as in no other of the sources left to us today. Essential reading and the birth of the Napoleonic legend. Author — Las Cases, Emmanuel-Auguste-Dieudonné, comte de, 1766-1842. Text taken, whole and complete, from the edition published in 1855, New York, by Red Field. Original Page Count – 400 pages. Illustrations — 4.
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