Dictionnaire Culturel En Langue Française
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Pierre Naville and the French Indigenization of Watson's Behavior
tapraid5/zhp-hips/zhp-hips/zhp99918/zhp2375d18z xppws Sϭ1 5/24/19 9:13 Art: 2019-0306 APA NLM History of Psychology © 2019 American Psychological Association 2019, Vol. 1, No. 999, 000–000 1093-4510/19/$12.00 http://dx.doi.org/10.1037/hop0000129 “The Damned Behaviorist” Versus French Phenomenologists: Pierre Naville and the French Indigenization of Watson’s Behaviorism AQ:1-3 Rémy Amouroux and Nicolas Zaslawski AQ: au University of Lausanne What do we know about the history of John Broadus Watson’s behaviorism outside of AQ: 4 its American context of production? In this article, using the French example, we propose a study of some of the actors and debates that structured this history. Strangely enough, it was not a “classic” experimental psychologist, but Pierre Naville (1904– 1993), a former surrealist, Marxist philosopher, and sociologist, who can be identified as the initial promoter of Watson’s ideas in France. However, despite Naville’s unwav- ering commitment to behaviorism, his weak position in the French intellectual com- munity, combined with his idiosyncratic view of Watson’s work, led him to embody, as he once described himself, the figure of “the damned behaviorist.” Indeed, when Naville was unsuccessfully trying to introduce behaviorism into France, alternative theories defended by philosophers such as Jean-Paul Sartre and Maurice Merleau-Ponty explic- itly condemned Watson’s theory and met with rapid and major success. Both existen- tialism and phenomenology were more in line than behaviorism with what could be called the “French national narrative” of the immediate postwar. After the humiliation of the occupation by the Nazis, the French audience was especially critical of any deterministic view of behavior that could be seen as a justification for collaboration. -
WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: the Carracci and Poussin
WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: The Carracci and Poussin Online Links: Annibale Carracci- Wikipedia Carracci's Farnese Palace Ceiling – Smarthistory Carracci - Heilbrunn Timeline of Art History Poussin – Wikipedia Poussin's Et in Arcadia Ego – Smarthistory NEOCLASSICISM Online Links: Johann Joachim Winckelmann - Wikipedia, the free encyclopedia Jacques-Louis David - Wikipedia, the free encyclopedia Oath of the Horatii - Smarthistory David's The Intervention of the Sabine Women – Smarthistory NEOCLASSICISM: Benjamin West’s Death of General Wolfe Online Links: Neoclassicism - Wikipedia, the free encyclopedia Benjamin West - Wikipedia, the free encyclopedia The Death of General Wolfe - Wikipedia, the free encyclopedia Death of General Wolfe – Smarthistory Death of General Wolfe - Gallery Highlights Video Wolfe Must Not Die Like a Common Soldier - New York Times NEOCLASSICISM: Jacques Louis David’s Death of Marat Online Links: Jacques-Louis David - Wikipedia, the free encyclopedia The Death of Marat - Wikipedia, the free encyclopedia Charlotte Corday - Wikipedia, the free encyclopedia Art Turning Left - The Guardian Annibale Carracci. Flight into Egypt, 1603-4, oil on canvas The Carracci family of Bologna consisted of two brothers, Agostino (1557-1602) and Annibale (1560-1609), and their cousin Ludovico (1556-1619). In Bologna in the 1580s the Carracci had organized gatherings of artists called the Accademia degli Incamminati (academy of the initiated). It was one of the several such informal groups that enabled artists to discuss problems and practice drawing in an atmosphere calmer and more studious than that of a painter’s workshop. The term ‘academy’ was more generally applied at the time to literary associations, membership of which conferred intellectual rank. -
'The Only Secret Is That There Is No Secret': Sense and Nonsense in Deleuze Guillaume Collett
Volume 7 SECRETS ‘The only secret is that there is no secret’: Sense and Nonsense in Deleuze Guillaume Collett University of Kent Abstract his article examines the philosophy of ‘sense’ developed in the 1950s and 1960s by two T French philosophers, Jean Hyppolite and Gilles Deleuze, and seeks to show that the model of sense they develop seeks to oppose phenomenological and hermeneutical conceptions of meaning, which view sense as pointing to a deeper underlying reality. It will show that for Hyppolite and Deleuze, on the contrary, sense is its own reality, pointing to nothing deeper or outside it. On this basis, it argues that if for Hyppolite, ‘the only secret is that there is no secret’, meaning that there is nothing ‘behind’ sense, then for Deleuze, the only secret is that ‘nonsense’ is the underlying basis of sense, and is constantly co-present with it. This framework is then used to explore a Deleuzian post/structuralist theory of the text, in which a text’s ‘secret’ or ultimate signified is nothing else than the production of sense within the text itself, which must be considered as an excess of sense. This excess of sense is nonsensical only to the extent that it resists what Deleuze calls ‘good’ and ‘common sense’, and is not simply opposed to sense, being as it is the very basis of sense. 1 Keywords: sense, nonsense, structuralism, secret, Deleuze, Heidegger. uch of the Anglophone reception of Gilles Deleuze treats his project as alien to Martin M Heidegger’s and as espousing either a brand of realist vitalism, or, increasingly, a brand of post-Kantian critique. -
Nicolas Poussin Drew His Artistic Inspiration From
Nicolas poussin drew his artistic inspiration from Continue Nicolas Poussin Rape Europe Selling Date: July 8, 2020 Auction Closed Circle Nicolas Poussin Untitled Sale Date: July 2, 2020 Auction Closed Circle Nicolas Poussin Char de triomphe Sale Date: 19 May 2020 Auction Closed Attributed to Nicolas Poussin BACCHANAL Sale Date: 27 June 2019 Auction Closed Paris from the point of view of Poussin, his visit to Paris was a disaster. After a short period of happiness as a result of the enthusiastic reception given to him by the King, Cardinal and Surintendant des Bariments, Sublet des Noyers - who agreed to put him at the head of all artistic and decorative works in the royal palaces - Poussin soon realized that the tasks he was called to perform were completely inconsistent with him : the great altars (Institute de l'Eucharist for Saint-Germain as in the Louvre), large allegorical paintings for Cardinal Richelieu (Time Revealing Truth with Envy and Discord (1640-2) Louvre; Burning Bush, Staten Kunstumsem, Copenhagen) and, in particular, the decoration of the Long Gallery of the Louvre (not completed, later destroyed). His difficulties were magnified by the hostile intrigues of the influential first artist King Simon Vue (1590-1649), another Italian art student who returned to Paris in 1627, and other artists who believed that their livelihoods were in danger of Poussin's arrival. At the end of 1642 he left Paris, ostensibly only to take his wife. However, it was clear that he had no desire to return, and the situation was soon resolved by richelieu's death, which was soon followed by the King's situation. -
Jean-Luc Nancy and the Deconstruction of Christianity By
Jean-Luc Nancy and the Deconstruction of Christianity by Tenzan Eaghll A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department for the Study of Religion University of Toronto ©Copyright by Tenzan Eaghll 2016 Jean-Luc Nancy and the Deconstruction of Christianity Tenzan Eaghll Doctor of Philosophy Department for the Study of Religion University of Toronto 2016 Abstract This dissertation is a study of the origins and development of the French philosopher Jean- Luc Nancy’s work on the “deconstruction of Christianity.” By situating Nancy's work in light of the broader Continental philosophical analysis of religion in the 20th Century, it argues that what Nancy calls the "deconstruction of Christianity" and the "exit from religion" is his unique intervention into the problem of metaphysical nihilism in Western thought. The author explains that Nancy’s work on religion does not provide a new “theory” for the study of religion or Christianity, but shows how Western metaphysical foundations are caught up in a process of decomposition that has been brought about by Christianity. For Nancy, the only way out of nihilism is to think of the world as an infinite opening unto itself, for this dis- encloses any transcendent principle of value or immanent notion of meaninglessness in the finite spacing of sense, and he finds the resources to think this opening within Christianity. By reading Christian notions like "God" and "creation ex nihilo" along deconstructive lines and connecting them with the rise and fall of this civilization that once called itself "Christendom," he attempts to expose "the sense of an absenting" that is both the condition of possibility for the West and what precedes, succeeds, and exceeds it. -
Joseph Ducreux ( –1715) Was a Painter Surtout
Neil Jeffares, Dictionary of pastellists before 1800 Online edition pourrés faire dans votre essence et hâtés vous un peu diminuée”, and promptly engaged the DUCREUX, Joseph lentement, tachés d’établir, si il est possible, vos Nancy 26.VI.1735 – Saint-Denis, près Paris artist to depict his brother and sister-in-law in ombres et de les dégrader surtout pour les grandes Vienna). Ducreux arrived in Vienna on 24.VII.1802 masses et alors ne posé votre ton quaprès lavoir II Ducreux (he sometimes signed du Creux) came comparés du fort au foible, vous serés toujours surs 14. .1769, and four days later commenced a from a family of artists based in Nancy. They de faire tourner. portrait of Marie-Antoinette. The French court’s reaction to the early portraits received from were presumably related to homonyms in Paris: Faites des études avant que de peindre en dessinant a Michel-Joseph Ducreux ( –1715) was a painter surtout. Vienna was that the heads were “d’une parfaite ressemblance et d’une exécution bien finie”, and carver of carnival masks on the Pont Notre- Ducreux was reçu by the Académie de Saint- Dame, while several “sculpteurs du roi”, painters while the bodies and accessories were not Luc in 1764, rue des Saint-Pères. Two years later without faults, attributed to the haste with which or wax modellers called Ducreux (Jean-Louis, he was living at rue Guénegaud (42, rue Saint- Jean-Baptiste, Michel-Louis) were recorded there Ducreux had had to work. (Such features André-des-Arts), according to the baptismal however may be detected in other early work by until c.1748, probably sons. -
"With His Blood He Wrote"
:LWK+LV%ORRG+H:URWH )XQFWLRQVRIWKH3DFW0RWLILQ)DXVWLDQ/LWHUDWXUH 2OH-RKDQ+ROJHUQHV Thesis for the degree of philosophiae doctor (PhD) at the University of Bergen 'DWHRIGHIHQFH0D\ © Copyright Ole Johan Holgernes The material in this publication is protected by copyright law. Year: 2017 Title: “With his Blood he Wrote”. Functions of the Pact Motif in Faustian Literature. Author: Ole Johan Holgernes Print: AiT Bjerch AS / University of Bergen 3 Acknowledgements I would like to thank the following for their respective roles in the creation of this doctoral dissertation: Professor Anders Kristian Strand, my supervisor, who has guided this study from its initial stages to final product with a combination of encouraging friendliness, uncompromising severity and dedicated thoroughness. Professor Emeritus Frank Baron from the University of Kansas, who encouraged me and engaged in inspiring discussion regarding his own extensive Faustbook research. Eve Rosenhaft and Helga Muellneritsch from the University of Liverpool, who have provided erudite insights on recent theories of materiality of writing, sign and indexicality. Doctor Julian Reidy from the Mann archives in Zürich, with apologies for my criticism of some of his work, for sharing his insights into the overall structure of Thomas Mann’s Doktor Faustus, and for providing me with some sources that have been valuable to my work. Professor Erik Bjerck Hagen for help with updated Ibsen research, and for organizing the research group “History, Reception, Rhetoric”, which has provided a platform for presentations of works in progress. Professor Lars Sætre for his role in organizing the research school TBLR, for arranging a master class during the final phase of my work, and for friendly words of encouragement. -
Herman Melville and Christian Grabbe: a Source for ''The Godhead Is Broken"
Connotations Vo!. 4.3 (1994/95) Herman Melville and Christian Grabbe: A Source for ''The Godhead is Broken" ELEANOR COOK The correspondence between Melville and Hawthome includes a number of remarkable letters, written at the time of the publication of Moby-Dick. One of them contains the following sentences: Whence come you, Hawthorne? By what right do you drink from my flagon of life? And when I put it to my lips-Io, they are yours and not mine. I feel that the Godhead is broken up like the bread at the Supper, and that we are the pieces. Hence this infinite fraternity of feeling. ([17?] November 1851)1 Words like these are not easily forgotten, so that when I read in Edgar Wind's Art and Anarchy, "There was a god, but he was dismembered-we are the pieces," I seemed to hear Melville's own voice. But no: this was Christian Grabbe's Faust speaking, in Grabbe's play of 1829, Don Juan und Faust. Here is the passage: Faust: ... es gab einst einen Gott, der ward Zerschlagen-Wir sind seine Stiicke- Sprache Und Wehmut-Lieb' und Religion und Schmerz Sind Traume nur von ihm. Der Ritter: Du Gottestraumer! Faust: Der bin ich! (Don Juan und Faust, IV.iii)2 [There was Once a God, he was dismembered-we are his pieces- speech and sadness-love and religion and pain are only dreams of him. You God-dreamer! That's what I am.] _______________ ConnotationsFor debates inspired - A Journal by this for article, Critical please Debate check by the the Connotations Connotations website Society at is licensed<http://www.connotations.de/debcook00403.htm>. -
A History of the French in London Liberty, Equality, Opportunity
A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick A history of the French in London liberty, equality, opportunity A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2013. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 48 3 (PDF edition) ISBN 978 1 905165 86 5 (hardback edition) Contents List of contributors vii List of figures xv List of tables xxi List of maps xxiii Acknowledgements xxv Introduction The French in London: a study in time and space 1 Martyn Cornick 1. A special case? London’s French Protestants 13 Elizabeth Randall 2. Montagu House, Bloomsbury: a French household in London, 1673–1733 43 Paul Boucher and Tessa Murdoch 3. The novelty of the French émigrés in London in the 1790s 69 Kirsty Carpenter Note on French Catholics in London after 1789 91 4. Courts in exile: Bourbons, Bonapartes and Orléans in London, from George III to Edward VII 99 Philip Mansel 5. The French in London during the 1830s: multidimensional occupancy 129 Máire Cross 6. Introductory exposition: French republicans and communists in exile to 1848 155 Fabrice Bensimon 7. -
Merleau-Ponty's Last Writings.” the Southern Journal of Philosophy 43.4: 463-474
SENSE, LANGUAGE, AND ONTOLOGY IN MERLEAU-PONTY AND HYPPOLITE [Pre-Print Version. For the final version see Research in Phenomenology 48.1 (2018): 92-118.] Dimitris Apostolopoulos Hyppolite stresses his proximity to Merleau-Ponty, but the received interpretation of his ‘anti-humanist’ reading of Hegel suggests a greater distance between their projects. This paper focuses on an under-explored dimension of their philosophical relationship. I argue that Merleau- Ponty and Hyppolite are both committed to formulating a mode of philosophical expression that can avoid the pitfalls of purely formal or literal and purely aesthetic or creative modes of expression. Merleau-Ponty’s attempt to navigate this dichotomy, I suggest, closely resembles Hyppolite’s interpretation of Hegel’s ‘speculative’ mode of expression. In particular, his emphasis on the ‘mediating’ character of philosophical language, which moves between descriptive and creative expression, suggests a debt to Hyppolite. This reading provides more evidence to think that Hyppolite cannot be straightforwardly understood as an anti-humanist or post- phenomenological thinker, and paves the way for a rapprochement between his work and the broader phenomenological tradition. Keywords: Merleau-Ponty, Hyppolite, Language, Meaning, Ontology §1 Introduction [Merleau-Ponty’s] proper theme, was the problematic of sense [sens] (the sense of all sense), and the location of this problematic could not but be philosophical expression as such. -Hyppolite, Inaugural Lecture to the Collège de France. In his Inaugural Lecture to the Collège de France in December 1963, Jean Hyppolite paid homage to Merleau-Ponty, a thinker that Hyppolite “needed to refer to.”1 Hyppolite claimed his thought was “knotted” with Merleau-Ponty’s, “above all during the final years.”2 But the received view of Hyppolite’s influence on 20th-century French philosophy suggests a greater distance between their respective projects. -
De Duivels- Kunstenaar
Pieter Steinz DE DUIVELS- KUNSTENAAR DE REIS VAN DOCTOR FAUST DOOR 500 JAAR CULTUUR GESCHIEDENIS 2016 Prometheus Amsterdam Eerste druk 2010 Derde druk 2016 © 2010 Pieter Steinz Vormgeving Suzan Beijer Illustratie omslag Lucas Cranach de Oude, Detail uit het huwelijks portret van dr. Johannes Cuspinian en Anna CuspinianPutsch Foto auteur Kick Smeets / Hollandse Hoogte www.uitgeverijprometheus.nl isbn 978 90 351 4439 2 The Devil has all the best lines engelse zegswijze INHOUD Proloog. De geest van de torenkamer 17 De historie, eerste deel 37 De historie, tweede deel 61 De legende wordt literatuur 89 Intermezzo. Faust in de Nederlanden 113 Sympathie voor de duivel. De Faust van Goethe 139 Faust na Goethe 171 Een held voor deze tijd 201 De vertaler 202 De schrijver 205 De filosoof 210 De econoom 212 De antroposofe 215 De fysicus 218 De essayiste 221 Epiloog. Terug naar Waardenburg 227 Verantwoording 235 Illustratieverantwoording 237 Bibliografie 239 Register 245 OP REIS MET (EN NAAR) FAUST Waardenburg Batenburg Wittenberg Anholt Brocken Leipzig Korbach Keulen Erfurt Weimar Gelnhausen Praag Krakau (Bad) Kreuznach Bamberg Würzburg Heidelberg Fürth Knittlingen Parijs Maulbronn Rebdorf Ingolstadt Luxueil Augsburg Staufen im In ‘regular’ de plaatsen Breisgau waar de historische Faust volgens de Basel bronnen geweest is. Gecursiveerd de plaatsen die met hem geassocieerd worden. Bron: Günther Mahal, Faust. Die Spuren eines geheimnisvolles Lebens (Hamburg, 1995) Venetië Waardenburg Batenburg Wittenberg Anholt Brocken Leipzig Korbach Keulen Erfurt Weimar Gelnhausen Praag Krakau (Bad) Kreuznach Bamberg Würzburg Heidelberg Fürth Knittlingen Parijs Maulbronn Rebdorf Ingolstadt Luxueil Augsburg Staufen im Breisgau Basel Venetië DE REIS VAN DOCTOR FAUST DOOR 500 JAAR LITERATUURGESCHIEDENIS DE VROEGE LITERAIRE TRADITIE (TOT EN MET DE ROMANTIEK) PROZA TONEEL 1560 Wolf Wambach verzamelt 1588 Eerste Duitse Faustspel Faustverhalen uit Erfurt (ge opgevoerd citeerd door Zacharias Hogel in de Thüringer Chronik) c a . -
André Chénier's 'Dernières Poésies': Animism and the Terror
This is a repository copy of André Chénier's ‘Dernières poésies’: Animism and the Terror. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/97694/ Version: Accepted Version Article: McCallam, D. (2015) André Chénier's ‘Dernières poésies’: Animism and the Terror. Forum for Modern Language Studies, 51 (3). pp. 304-315. ISSN 0015-8518 https://doi.org/10.1093/fmls/cqv048 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ ‘André Chénier’s “Dernières poésies”: Animism and The Terror’ Abstract: Starting from the premise that André Chénier’s poetry is fundamentally pantheist in nature, this article identifies animism as one of its most important modes of expression. The pantheist belief structures and animist dynamic also inform his final poems written during the Terror (1793-1794).