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The present study concentrates on the phenomenon of intertextuality in one of Bohumil Hrabal’s key early works, namely, the “existential” short story entitled Kain. The author examines especially the intertextual resonances between Hrabal’s work, Camus’s The Stranger, Dante’s Vita nuova and Goethe’s Sufferings of Young Werther
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The paper discusses one aspect of the reflection on Hegel’s philosophy in France after 1945 and its impact on literary work. Hegel attracted not only Existentialist philosophers but also some writers interested in Hegel’s philosophy of history. The paper presents two novelists — Jacques Laurent and Roger Nimier — belonging to the “Hussards” Movement and analyses their relationship to Hegel and the influence of this relationship on their authorship.
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The article proposes a contemporary reflection on Hegel’s famous quote “the real is the rational andthe rational is the real” that tradition has often misinterpreted. Inspired by a new reading by JeanFrançois Kervégan (which translates the sentence “the rational will become effective/real and thereal/effective will become rational”), the article focuses on one of the possible illustrations of thisHegelian thesis. Émile Zola’s novel The Work consists of a very interesting analysis of the notions ofreality, effectiveness and rationality that the author applies to both literature and visual arts. Behindthe controversies of Pierre Sandoz and Claude Lantier, it is possible to discern all the debates thatopposed Émile Zola to his friend Paul Cézanne.
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The paper deals with the fundamental phenomenological difference that one can find in philosophyas analysis and interpretation of the appearing of phenomena, established by Edmund Husserl atthe very beginning of his thinking: the difference between the appearing as lived experience, andthe phenomena as appearing entities. The paper skeatches some transformations of this motive inthe late thinking of Husserl culminating in the analysis and interpretation of the „living presence“.
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The present essay represents an attempt at a new philosophical reflexion on the phenomenon of desire. Drawing on the phenomenological background, namely, on Husserl’s idea of intentionality andthe universal a priori of correlation, but also on Merleau-Ponty, Levinas and others, the author proposes to define the perceiving subject in its relationship to worldly reality precisely as desire andlack, thus highlighting what he calls an ontological dimension of desire.
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The present paper represents a phenomenological reflexion on the question of animality. Drawing from a selection of phenomenological texts, ranging from Husserl and Heidegger to MauriceMerleau-Ponty, the author pleads for a different view of animality than that which would posita neatly cut anthropological difference between the human subject and animal. In the final sectionof the text, the difficult question of inter-animality (as opposed to intersubjectivity) is treated insome detail.
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Marx’s Economic and Philosophical Manuscripts are usually interpreted as a transitional work betweendifferent elements of Feuerbach’s and Hegel’s philosophy which are still strongly present in the workof young Marx, and between Marx’s mature historical materialism. In the present text, we will try toshow (with reference to the recent discussions on “young Marx”, especially in the French context),that the Manuscripts, in fact, contain an ontology that cannot be reduce either to a mere residuum ofclassical German philosophy, or to a materialist conception of social life. We shall try to describe thisoriginal ontology as an ontology of the sensible, or as an ontology of the finitude of human sensibility
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The paper focuses on the short exchange of letters between T. G. Masaryk andthe Norwegian writer Arne Garborg regarding the novel Weary Men in the context ofreception of Garborg’s writing in the Bohemian Lands in the late 19th century. Weary Menis a remarkable example of literary decadence and after publishing was widely discussed bythe Czech critics. Masaryk saw in the novel a unique literary reflection of his own opinionson the crisis of a modern man and his attitude towards religion. This is why he decidedto write an analysis of the novel’s main character, Gabriel Gram, and to contact Garborgby post. The paper focuses on the contents of the short exchange of correspondence. Itscontext is further clarified by the contemporary reviews of Garborg’s book and asaryk’scorrespondence with Josef Svatopluk Machar.The paper focuses on the short exchange of letters between T. G. Masaryk andthe Norwegian writer Arne Garborg regarding the novel Weary Men in the context ofreception of Garborg’s writing in the Bohemian Lands in the late 19th century. Weary Menis a remarkable example of literary decadence and after publishing was widely discussed bythe Czech critics. Masaryk saw in the novel a unique literary reflection of his own opinionson the crisis of a modern man and his attitude towards religion. This is why he decidedto write an analysis of the novel’s main character, Gabriel Gram, and to contact Garborgby post. The paper focuses on the contents of the short exchange of correspondence. Itscontext is further clarified by the contemporary reviews of Garborg’s book and Masaryk’scorrespondence with Josef Svatopluk Machar.
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The article consists of an edition of letters and telegrams from 1901 to 1933 andan introductory passage focusing on Charles R. Crane and his connection to T. G. Masaryk.The correspondence illustrates the transformation of mutual relations between the twomen and at the same time shows how their long-standing friendship contributed to thesuccess of T. G. Masaryk’s foreign resistance activities during the First World War.
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In this paper, I suggest that the notion of qiyun (qi: spirit; yun: consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience, and work. By projecting Kant’s and Schiller’s conceptions of aesthetic autonomy and the moral relevance of art onto the qiyun-focused context, we see that the reflection on parallels and differences between the two cultural traditions helps to better understand the moral dimension of qiyun aesthetics.
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Adolf Loos is one of the few figures that Wittgenstein explicitly named as an influence on his thought. Loos’s influence has been debated in the context of determining Wittgenstein’s relation to modernism, as well as in attempts to come to terms with his work as an architect. This paper looks in a different direction, examining a remark in which Wittgenstein responded to Heidegger’s notorious pronouncement that ‘the Nothing noths’ by reference to Loos’s critique of ornamentation. Wittgenstein draws a parallel between the requirement to start philosophy with an inarticulate sound and the need, in certain cultural periods, to highlight the borders of tablecloths using lace. Paying heed to Wittgenstein’s remark sheds further light on a Loosian influence at work in his thinking about modern civilization, both in his well-known ‘Lectures on Aesthetics’ and in the earlier notes from his 1930 lectures at Cambridge.
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The purpose of this symposium is to explore the ways in which literature, broadly construed to include poetry and narrative in a variety of modes of representation, can change the world by providing interventions in justice. Our approach foregrounds the relationship between the activity demanded by some individual literary works and some categories of literary work on the one hand and the way in which those works can make a tangible difference to social reality on the other. We consider three types of active literary engagement: doing philosophy, ideological critique, and necessary rather than contingent performance. Kate Kirkpatrick opens with Kamel Daoud’s The Meursault Investigation (2013), reading the narrator as not only a critic of colonial and postcolonial discourse but also a literary exemplar of the search for justice when it is difficult to know to what level of explanation to attribute its absence. Rafe McGregor demonstrates how the final season of Prime Video’s The Man in the High Castle (2015–19) makes a radical break from the previous three, exposing the misanthropy at the core of right-wing populism and calling for a fundamentally democratic response from the left. Finally, Karen Simecek argues that poetry in performance has a potentially reparative function for the ethically lonely – the vulnerable, the oppressed, and the persecuted – in society.
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A book review of Georg W. Bertram, Art as Human Practice: An Aesthetics. Translated by Nathan Ross. London: Bloomsbury Academic, 2019, x + 240 pp. ISBN 978-1-3500-6314-3.
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A book review of Laura Cappelle. Nouvelle Histoire de la danse en Occident: De la Préhistoire à nos jours. Paris: Seuil, 2020, 368 pp. ISBN 978-2021399899.
More...Noétique de la littérature
The transformation of the arts, foreseen and announced by Hegel, coincides with the birth of modernity. One of its essential aspects is the noetic turn in literature, which can be seen as a manifestation of autoreflexivity within the framework of intraliterary dynamics: autoreflexivity engages the questioning of language, it redefines the status of the lyric subject and the narrator, it problematizes discursivity and thus proposes new approaches to referential reality. Literature becomes a specific form of thought and a crucible of reflection by occupying a terrain that neither science nor philosophy could explore, that of existential human experience, not yet conceptualized. Literature thus produces discourses and concepts that can later be grasped and systematized by science and philosophy. An exemplification attempts to illustrate this process from the 19th century to the present day.
More...essai d’interprétation hégélien
This paper attempts to cross-read the End of Art as it is conceptualized by Georg Wilhelm Friedrich Hegel, and André Gide’s and Jean Lorrain’s versions of the myth of Narcissus. The most relevant mythemes such as beauty, self-love, duplication, “specularity” and death are apprehended in their recovery by fin-de-siècle aesthetics. The hermeneutic back-and-forth movement between the two texts assesses the structural symbols carrying various models of the evolution of art and formulates what Hegel could have possibly understood by this concept. The results of our interpretation are then related to certain phenomena of the history of art, and particularly of literature in the 20th century.
More...Malraux lecteur de Hegel
The article summarizes the major topoi of Hegelianism that Malraux adopts in his texts on art (The Voices of Silence, The Imaginary Museum and The Metamorphosis of the Gods), before focusing, in particular, on Malrucian interpretation of the end of art and on the links that the latter has with his own concept of the imaginary museum. According to some of Hegel’s exegetes (Bernard Bosanquet, Martin Heidegger, Jean-Luc Nancy, Thierry de Duve, but also Theodor Adorno, Arthur Danto, Joseph Kosuth, Rainer Rochlitz or Jan Patočka), the end of traditional art paves the way for its retrospective conceptualization, its reconfiguration in the public space, as well as for very exciting debates on the nature of contemporary art, post-religious, post-national, post-historical in a way. The article illustrates the original place that Malraux occupies within this “positive” and creative interpretation of the end of art.
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Based on the theory of Arthur Coleman Danto I try to outline possible similarities between the state of art after its end and the state of melancholy. The melancholic breaks the order, thus paradoxically drawing its boundaries. Aristotle’s Problems, Robert Burton’s Melancholia, and a study of Melancholia of theorist László F. Földényi help us to name characteristics of this state.
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