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The social, ethical, and political thinking of Goethe that resulted from the shock of the French Revolution, the Napoleonic Wars, and the new shaping of European map, societies, and politics, particularly from the rise of nationalism, can be characterized as a European wisdom in search of a cosmopolitan liberalism, rather unpolitical community grounded in neo-humanism.
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This paper questions Merleau-Ponty’s statement, according to which all literature and phenomenology together should deliver an experience of the world that precedes any thought about the world. It combines phenomenological reading and textual analysis Le Procès-verbal (1963) by J.-M. G. Le Clézio.
More...De l’otium au taedium
This paper, focused on Seneca’s conception of melancholy, attempts to analyse the link between two important philosophical notions – otium and taedium vitae – constituting the ethics of the sewer of life due to idleness, and its opposite, happiness. After examining the “anatomy” of melancholy, that means the origin and development of this concept in medicine, we try to interpret how otium can lead to taedium and what kind of remedies Seneca offers to his pupil Quintus Serenus to reach the untroubled and tranquil condition of the soul (tranquillitas animi), characteristic of the Stoic sage.
More...L’esthétique de la sensibilité de Jean-Jacques Rousseau entre expression et imitation
Through an analysis of Rousseau’s Essai sur l’origine des langues’s quotation of the myth of Dibutade’s daughter, this article shows the limits of Jacques Derrida’s reading of it as no more than an expressive gesture : the example is about expressing a sensitivity to signs. It tells us about producing a trace, and a sort of writing, in opposition with Derrida’s idea of Rousseau being a prisoner of the metaphysical illusion of an immediate expression for which language would be nothing but a pale substitute.
More...Lecture de trois récits de la dépression
This article contrasts the concept of melancholia and mental depression, through three personal narratives about depression: Route de nuit by Clément Rosset, Darkness Visible by William Styron and The Crack-Up by F.S. Fitzgerald.
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Several images can vividly convey and express black humor causing melancholy. Among those images, water happens to have a strong evocative power; indeed, water can express the feeling of nothingness, the anguish of being trapped in its shadows, but also possible soothing reassurances, even if they eventually mean the choice of one’s voluntary death.
More...Une archive de la spiritualité entre iconoclasme et mélancolie
Arnulf Rainer paints on the photograph of a face with an iconoclastic violence betraying a guilty desire for the Image. In its spiritual connotation, the revamped portrait acts as transfiguration, where the melancholy of the inner experience makes it sensitive to the idea of a gaping loss.
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This paper analyzes the portrait of the poet as an old man, which lies in opposition to the wish of transparency expressed by Jaccottet in The Ignorant and which borrows its elements from the humorism of Greek medicine. So, this paper finds the melancholic ambivalence of his poetry and explains the opacity which persists there.
More...Du bon usage de la mélancolie
This text is an illustration of the ancient medical meaning of melancholy: the black humor of the depressed and the great artists that faced the death which nourished their works. There are five promenades along Parisian cemeteries which mix architectural and historical considerations with personal experiences taking the form of reveries oscillating between life and death, shadow and light.
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This article analyses the meaning of melancholy in Michel Lambert’s, Dieu s’amuse. There is a metaphorical onto-thanatology that builds a character distinguished by a melancholic affectivity. The origin of this trait is to be found not only in an incapacity of living in the present and let go of the past (the latter being a source of sadness, suffering, unhappiness and boredom), but also in a tendency to mourn.
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This paper emphasizes the importance of a detail from La Rochefoucauld’s self-portrait: the « black eyes » symbolize the melancholy of the moralist, and announce the tone of the Maxims and their commentaries. Some critics denounce a bias towards pessimism, but melancholy seems to be a rule for moral analysis.
More...Ce qui reste de Jacques Derrida
This article discusses the melancholy one may find in Jacques Derrida’s deconstruction and it provides an attempt to reveal the autobiographical of his writings. Derrida’s melancholy, that is also the melancholy of deconstruction, speaks more through his style than through his concepts.
More...Historicité d’une image
In a same pictural theme may the imagination in great advance anticipate on the level of what Kant calls the idea of reason; even if the field seems to be strictly a theological one. This capacity of anticipation reveals the plasticity and historicity of our productive imagination, i.e. a much larger vastitude and creativity of the metaphor in contrast to the conceptual domain.
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Paintings and drawings can be alluded to as spaces of emergence of that: the tangible reality, reduced to its bits of being and to its fragment of bodies, can touch the eye, be brushed by its close gaze, and the artist, who could understand that, who would have the talent to outline it with his brushes and fingers, could drop it off in the space that would bring it to life: the materiality of the piece. This is the entire work and talent of Gisèle Bonin.
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Jak jsem často říkal, filosofie mne nevede k rádnému zřeknut i se. Protone j á se nevzpírám něco říkat, nýbrž se vzdávám jistých slovních spojeni jako postrádajících smysl,
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