Long known solely as fascism’s precursor, Joseph de Maistre re-emerges in this volume as a versatile thinker with a colossally diverse posterity whose continuing relevance in Europe is ensured by his theorization of the encounter between tradition and modernity.

We argue, in the spirit of some of Jean-Yves Jaffray's work, that explicitly incorporating the information, however imprecise, available to the decision maker is relevant, feasible, and fruitful. In particular, we show that it can lead us to know whether the decision maker has wrong beliefs and whether it matters or not, that it makes it possible to better model and analyze how the decision maker takes into account new information, even when this information is not an event and (...) finally that it is crucial when attempting to identify and measure the decision maker's attitude toward imprecise information. (shrink)

Cet article propose un regard sur la place des familles au chevet des patients comateux et leur rôle potentiel dans le processus d’éveil, notamment en ce qui concerne le travail de mémoire et le partage d’affect, principalement la honte. Il s’appuie sur l’expérience de travail de plusieurs années d’un psychologue en service de réanimation adulte. La réanimation est un lieu dans lequel la place de chaque objet est pensée en fonction de son utilité pour le soin du patient, mais peu (...) dans la perspective du lien à l’entourage. Certains objets comme la famille sont porteurs de complexité à résonances affectives. L’article montre que cette complexité, si elle est accompagnée par le psychologue et l’équipe soignante, peut jouer un rôle favorable dans le processus d’éveil et dans le travail de réappropriation de son vécu par le patient. (shrink)

Cet article propose un regard sur la place des familles au chevet des patients comateux et leur rôle potentiel dans le processus d’éveil, notamment en ce qui concerne le travail de mémoire et le partage d’affect, principalement la honte. Il s’appuie sur l’expérience de travail de plusieurs années d’un psychologue en service de réanimation adulte. La réanimation est un lieu dans lequel la place de chaque objet est pensée en fonction de son utilité pour le soin du patient, mais peu (...) dans la perspective du lien à l’entourage. Certains objets comme la famille sont porteurs de complexité à résonances affectives. L’article montre que cette complexité, si elle est accompagnée par le psychologue et l’équipe soignante, peut jouer un rôle favorable dans le processus d’éveil et dans le travail de réappropriation de son vécu par le patient. (shrink)

La grossesse (psychique) des pères interroge les capacités psychiques de l’homme devenant père à se saisir fantasmatiquement d’un corps (psychique) pour trois. Le père pré-œdipien est potentiellement un co-acteur dans une co-construction à trois. Si la place des pères auprès de leur bébé et auprès de leur conjointe devenant mère reste socialement à légitimer, les groupes de parole de pères peuvent être un cadre d’étayage à la paternalisation. S’appuyant sur leur expérience, les auteurs articulent leur réflexion autour de trois axes (...) principaux développés lors d’un groupe de pères en crèche : l’établissement et la légitimité des premiers liens père-mère-bébé, le désir et le tabou d’un sein paternel nourricier de la triade, l’accouchement du père, d’une (id)entité père-mère-bébé. (shrink)

We consider a computational model comparing the possible roles of and in phonetic decoding, demonstrating that these two routes can contain similar information in some communication situations and highlighting situations where their decoding performance differs. We conclude that optimal decoding should involve some sort of fusion of association and simulation in the human brain.

After reviewing the literature on current knowledge about consciousness in humans, we present a state-of-the art discussion on consciousness and related key concepts in animals. Obviously much fewer publications are available on non-human species than on humans, most of them relating to laboratory or wild animal species, and only few to livestock species. Human consciousness is by definition subjective and private. Animal consciousness is usually assessed through behavioural performance. Behaviour involves a wide array of cognitive processes that have to be (...) assessed separately using specific experimental protocols. Accordingly, several processes indicative of the presence of consciousness are discussed: perception and cognition, awareness of the bodily-self, self-related knowledge of the environment (including social environment). When available, specific examples are given in livestock species. Next, we review the existing evidence regarding neuronal correlates of consciousness, and emphasize the difficulty of linking aspects of consciousness to specific neural structures across the phyla because high-level cognitive abilities may have evolved independently along evolution. Several mammalian brain structures (cortex and midbrain) are involved in the manifestations of consciousness, while the equivalent functional structures for birds and fishes would likely be the pallium/tectum and midbrain. Caution is required before excluding consciousness in species not having the same brain structures as the mammalian ones as different neural architectures may mediate comparable processes. Finally, specific neurophysiological mechanisms appear to be strongly linked to the emergence of consciousness, namely neural synchrony and neural feedback. Considering the limited amount of data available and the few animal species studied so far, we conclude that different manifestations of consciousness can be observed in animals but that further refinement is still needed to characterize their level and content in each species. Further research is required to clarify these issues, especially in livestock species. (shrink)

Tribute to Jean-Yves Jaffray by the French Group of Decision Theory.

We argue, in the spirit of some of Jean-Yves Jaffray’s work, that explicitly incorporating the information, however imprecise, available to the decision maker is relevant, feasible, and fruitful. In particular, we show that it can lead us to know whether the decision maker has wrong beliefs and whether it matters or not, that it makes it possible to better model and analyze how the decision maker takes into account new information, even when this information is not an event and (...) finally that it is crucial when attempting to identify and measure the decision maker’s attitude toward imprecise information. (shrink)

À partir de la publication de L’Être et le Néant en 1943, où Jean-Paul Sartre déplore que les travaux phénoménologiques « n’[aient] pas cru devoir se préoccuper de la sexualité » et proclame compter quant à lui les formes principales de la sexualité humaines parmi les « struc- tures fondamentales » de l’existence humaine, une part importante d’œuvres de phénoménologie vont accorder une attention accrue aux problématiques de sexe, de genre et de sexualité. Maurice Merleau-Ponty, Simone de Beau...

Un certain nombre de passages que Foucault consacre à Hegel (directement ou indirectement, via la figure de Jean Hyppolite) s’éclairent lorsqu’on les considère à la lumière du questionnement suivant : dans quelle mesure un individu contribue-t‑il à déterminer le sens du discours qu’il tient? Nous tentons de montrer que cette difficulté conduit Foucault à suggérer que l’influence de Hegel sur la philosophie postérieure a été ambivalente, à décrire le sens de la modernité comme l’effacement de la figure individuelle du (...) penseur, et à reconsidérer son propre parcours (nuançant en particulier la perspective de L’Archéologie du savoir ). Cette réflexion sur la place de la subjectivité dans le discours mène enfin Foucault à réassumer, dans ses derniers textes, le rôle du philosophe. (shrink)

Dans le cadre de ses activités, l’Institut de Recherches Sociologiques et Anthropologiques de l’université Paul-Valéry a organisé un séminaire sur les temporalités sociales qui s’est tenu le 21 avril 2016, à Montpellier.Voici le compte rendu de cette journée. Comme le rappelle Jean-Bruno Renard dans sa présentation, l’IRSA est l’un des laboratoires partenaires de Temporalités. Cette équipe soutient en effet la revue depuis l’origine, poursuivant ainsi ce qu’elle avait déjà fait dans les année...

Serlio achieved fame as an architect and the author of seven books on architecture, but his activities as a painter are hardly known. The recently discovered autograph manuscript reveals his thinking about this 'most noble art': collectively its pages form the introduction to an unfinished treatise on painting. As with his architectural discourse, Serlio's approach to writing about painting is entirely practical. In no sense a humanist reflection on the subject of art, the work was planned as an illustrated manual (...) and pedagogical tool for the novice painter. The discussion opens with a first section on disegno where the rudiments of drawing are outlined. Very quickly Serlio turns to foreshortening and perspectives on the human figure, emphasising the infinite nuances possible as the body to be represented moves. Such concerns disclose the influence of his mentor Baldassare Peruzzi and association with other members of Raphael's studio. As presented in this manuscript, the manual may have graphically resembled Dürer's Vier Bücher in its printed form, but the rules of disegno respect the Italian workshop tradition as we know it from Carlo Urbino's Le regole del disegno and the Leonardesque heritage. Serlio's projected volume of painting instruction may be regarded as a first literary experiment—a precursor to his later illustrated books on architecture. (shrink)

Painting, according to Jean-Luc Marion, is a central topic of concern for philosophy, particularly phenomenology. For the question of painting is, at its heart, a question of visibility—of appearance. As such, the painting is a privileged case of the phenomenon; the painting becomes an index for investigating the conditions of appearance—or what Marion describes as “phenomenality” in general. In The Crossing of the Visible, Marion takes up just such a project. The natural outgrowth of his earlier reflections on icons, (...) these four studies carefully consider the history of painting—from classical to contemporary—as a fund for phenomenological reflection on the conditions of (in)visibility. Ranging across artists from Raphael to Rothko, Caravaggio to Pollock, The Crossing of the Visible offers both a critique of contemporary accounts of the visual and a constructive alternative. According to Marion, the proper response to the “nihilism” of postmodernity is not iconoclasm, but rather a radically iconic account of the visual and the arts that opens them to the invisible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Looking to Learn: Museum Educators and Aesthetic EducationNancy Blume (bio), Jean Henning (bio), Amy Herman (bio), and Nancy Richner (bio)IntroductionMuseum education. Aesthetic education. How are they similar? How do they differ? How do they relate to each other? What are their goals? As museum educators working with classroom and art teachers, we are often asked these questions, and we ask them ourselves. “What do you DO?” is probably (...) the most frequently asked question of all, and the answer is complex. Even more complex is how these questions relate to the Rembrandt Project. Given that looking at original works of art is such a priority for museums and museum educators, how do we address the project’s reliance on technology? And how do these questions relate to the social studies and visual arts standards, [End Page 83] another major component of the project? How does the project relate to the work we do in our own museums? Writing collaboratively implies that we have certain areas of commonality; but we also have differences, which will be apparent in individual sections of this article: Jean Henning and Nancy Richner discuss the Nassau County Museum of Art, Nancy Blume writes about Asia Society, and Amy Herman explores the Frick Collection. Our focus will be the domain of museum education as that is what we know best, but there are inevitably areas where it overlaps and complements the domains of art education, aesthetic education, and social studies.Art Museum Education HistoryThe history of art museum education begins with the founding of museums in the United States during the commercial and industrial expansion that took place after the Civil War, between 1870 and 1929. The principles guiding American museums have always mirrored the values of American society. From the beginning of this country’s history, the fine arts have been viewed as elitist and thus of no value to the larger society. “To America,” Ben Franklin wrote in the late 1700s, “one school master is worth a dozen poets, and the invention of a machine or the improvement of an implement is of more importance than a masterpiece of Raphael.”1 Given such longstanding and deep-seated suspicion of art among Americans, it is not surprising that both the champions and the staff of art museums insisted on the practical educational benefits museums provided to the public.By the late nineteenth century, at the height of immigration and the emergence of a strong working class and labor movement, a social dimension was added to the mission of museum education. Art museums, like public libraries, were seen as venues for achieving social balance. By the early twentieth century an aesthetic agenda was finally joined to these social and pragmatic ones.2While museums have responded to the needs created by cyclical changes in social, economic, political, and intellectual life, today’s art museum educators still deal with the tension among the museum’s aesthetic, educational, and social missions; only the context and delivery modes of museum education have changed. Yet despite the shifting directions and priorities in museum education, there are certain basic and commonly accepted premises that museum educators have shared since the late nineteenth century. The 1984 Museums Commission on Museums for a New Century stated what has been the continuing premise of museum education since the late nineteenth century: learning in museums is based on objects and involves not only developing the ability to synthesize ideas and form opinions but also shaping an aesthetic and cultural sensibility.3 Another fundamental [End Page 84] assumption is that museums are institutions of visual instruction. Although each of the museum educators writing here represents a unique institution with unique approaches to looking at and finding meaning in art, we all agree on the importance of the original work of art as the basis for our work. It is the complexity of original artworks that enables them to play a dual role. One role is pragmatic, which requires meeting standards set by state and national governments for teaching critical thinking skills and improving literacy. The second role is aesthetic—namely, ways of helping students develop habits for aesthetic encounters that are an integral part... (shrink)

Le "livre-testament" de Jean-François Mattéi, préfacé par Raphaël Enthoven, qui défendra dans les médias la mémoire de son professeur et ami.

This first-rate collection of essays in French stems from several international colloquia organized by a joint research program on utopia and catastrophe at the universities of Bordeaux-Montaigne and Poitiers between 2011 and 2013. Globally, as the title of Jean-Paul Engélibert and Raphaelle Guidée's excellent introduction makes immediately clear, the volume questions and refutes the depreciation of utopia expressed frequently in the last decades: the contemporary propensity to point, if not to the death of utopia, to the flourishing of dystopias (...) since the nineteenth century and the view that utopias themselves are the root cause of most twentieth-century crises and... (shrink)

Dan ZAHAVI, Husserl and Transcendental Intersubjectivity. A Response to the Linguistic-Pragmatic Critique ; Françoise DASTUR, Chair et langage. Essais sur Merleau-Ponty ; Jean GREISCH, Michel Henry et l’épreuve de la vie ; Elisabeth STRÖKER, The Husserlian Foundations of Science ; John McCUMBER, Metaphysics and Oppression, Heidegger’s Challenge to Western Philosophy ; Marc RICHIR, Phénoménologie en esquisses. Nouvelles fondations ; Raphaël GÉLY, La genèse du sentir. Essai sur Merleau-Ponty ; John SALLIS, Force of Imagination: The Sense of the Elemental (...) ; Bin KIMURA, L’entre. Une approche phénoménologique de la schizophrénie ; Dermot MORAN, Tim MOONEY, The Phenomenology Reader ; Ion COPOERU, Structuri ale constituirii ; Fabio CIARAMELLI, La distruzione del’desiderio. Il narcisismo nell’epoca di consumo di massa ; Pierre KELLER, Husserl and Heidegger on Human Experience. (shrink)

D. D. Raphael examines the moral philosophy of Adam Smith (1723-90), best known for his famous work on economics, The Wealth of Nations, and shows that his thought still has much to offer philosophers today. Raphael gives particular attention to Smith's original theory of conscience, with its emphasis on the role of 'sympathy' (shared feelings).

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, George Eliot, (...) class='Hi'>Jean-Auguste Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture. The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement, I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino, consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly... (shrink)

In this new and enlarged edition of a standard introduction to moral philosophy, Raphael shows in clear and simple language the connections between abstract ethics and practical problems in law, government, medicine, and the social sciences in general. Moral Philosophy deals with six main areas. First, it looks at the two opposed traditions of naturalism and rationalism, and considers more recent discussion in terms of logic and language. Next, it explores the attractions and defects of Utilitarianism, and then turns to (...) its main rival, Kantian ethics, which Raphael favors in a modified form. The third section shows how different moral views are related to different theories about justice and liberty. The fourth examines the problem of free will and determinism in the context of the presuppositions of science, especially in the social sciences. This second edition enlarges the relation of moral philosophy to other concerns, with two new chapters: one on ethics and evolution, the other on medical ethics. (shrink)

This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The book represents a daring mixture of Nancy’s philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of “making,” and outlines the tensions inherent in the faire, the “making” that characterizes the very process of production and thereby (...) the structure of poetry in all its forms. Nancy shows that this multiplication that belongs to the notion of art makes every single work communicate with every other, all material in the artwork appeal to some other material, and art the singular plural of a praxis of the finite imparting of an infinity which is actually there in every utterance. In the collection, Nancy engages with the work of, among others, François Martin, Maurice Blanchot, and On Kawara. (shrink)

If anything marks the image, it is a deep ambivalence. Denounced as superficial, illusory, and groundless, images are at the same time attributed with exorbitant power and assigned a privileged relation to truth. In this collection of writings on images and visual art, the author explores this through an extraordinary range of references.

On a l’habitude de lire dans Antigone l’histoire d’un conflit entre d’un côté l’expression des liens affectifs et de la piété, et de l’autre les prérogatives de l’État dont le but premier serait le maintien des institutions. D’un côté Antigone fidèle à son frère, de l’autre Créon attaché à sa Cité. D’un côté la morale de l’affectivité ou de la conviction (Gesinnungsethik), de l’autre la morale de la responsabilité (Verantwortungsethik), pour parler comme Max Weber. Cette lecture classique de la tragédie (...) demeure sans doute pertinente à bien des égards, mais traduit-elle l’essentiel? Et si l’intention du poète n’avait pas été d’en rester à cette confrontation mais de suggérer, par-delà l’affrontement ruineux, une troisième voie possible? Il n’y aurait plus alors deux termes seulement, le privé et le public que tout sépare, mais deux manières pour l’ordre public lui-même de se rapporter au privé, l’une conflictuelle et tyrannique, celle de Créon, l’autre conciliatrice et délibérative – démocratique en ce sens –, celle défendue par Hémon, par Tirésias, et finalement peut-être par Sophocle lui-même qui, par l’emploi d’un vocabulaire tiré de l’expérience politique athénienne, dénoue d’une main l’intrigue qu’il noue de l’autre. Éclairée entre autres par Aristote, une interprétation nouvelle de la pièce en découle, celle d’un poète qui surjoue les conflits pour mieux insinuer les moyens politiques de les résoudre ou de les atténuer. (shrink)

Philosophy is one of the most intimidating and difficult of disciplines, as any of its students can attest. This book is an important entry in a distinctive new series from Routledge: The Great Philosophers . Breaking down obstacles to understanding the ideas of history's greatest thinkers, these brief, accessible, and affordable volumes offer essential introductions to the great philosophers of the Western tradition from Plato to Wittgenstein. In just 64 pages, each author, a specialist on his subject, places the philosopher (...) and his ideas into historical perspective. Each volume explains, in simple terms, the basic concepts, enriching the narrative through the effective use of biographical detail. And instead of attempting to explain the philosopher's entire intellectual history, which can be daunting, this series takes one central theme in each philosopher's work, using it to unfold the philosopher's thoughts. (shrink)

The tale of Gyges' ring narrated by Cicero atDe officiis3.38 is of course originally found, and acknowledged as such by Cicero, in Plato (Resp.359c–360b). I would like in this paper to address two questions about Cicero's handling of the tale – one historical, one philosophical. The purpose of the historical question is to evaluate, with respect to the Gyges narration, Cicero's quality as a reader of Plato. How well does Cicero understand the role of the story in its original Platonic (...) context? The motivation for the question is that, at first blush, Cicero seems to have badly misunderstood it. I shall argue that the appearance is illusory, and that Cicero understands the tale's Platonic provenance perfectly well. Now it should be noted that the question of Cicero's grasp of the tale's purpose in Plato is distinct from the question whether Cicero himself puts the story to the same or a different use than Plato did. I shall suggest that while there are striking points of contact between the two treatments, on one crucial feature – namely the tale's ostentatiously far-fetched nature – Cicero is instructively more explicit than Plato. (shrink)

This paper explores the intricate relationship between the concept of “savage knowledge,” its significance during the ninteenth and twentieth centuries, and the emerging field of ethnoscience. It specifically focuses on the Amazon region as a pivotal area in the development of ethnoscience, examining the contributions of renowned naturalists Carl von Martius, Richard Spruce, and Richard Schultes, who each conducted scientific expeditions to the Amazon during this era. Their works are crucial in reevaluating the dynamic interplay between the Western perception of (...) the “savage,” the scientific principles that underpin it, and the geopolitics of knowledge exchange between countries in the global north and south. I argue that the contextual conditions which made possible the emergence of ethnoscience, including imperial assimilation, extraction, and coloniality, continue to exert influence on twentieth century political discourses concerning the integration of indigenous cultures into global politics. This influence is evident through the analysis of a UNESCO document in the second part of the paper. The study concludes that the incorporation of indigenous knowledge, systematised by ethnoscience, has often served as a pretext for controlling geographical areas historically regarded as “natural resources,” ultimately transforming them into reservoirs of indigenous epistemologies. (shrink)

One of the strongest strands in Nancy's philosophy is an attempt to rethink community and the very idea of the social in a way that does not ground these ideas in some individual subject or subjectivity. The fundamental argument of this book is that being is always 'being with', that 'I' is not prior to 'we', that existence is essentially co-existence. He thinks this being together, not as a comfortable enclosure in a pre-existing group, but as a mutual abandonment and (...) exposure to each other, one that would preserve the 'I' and its freedom in a mode of imagining community as neither a 'society of spectacle' nor via some form of 'authenticity'. (shrink)

This study discusses second generation scientific ontological categories: substance-tradition from Aristotle to Kant, Gödel, Quine, Strawson and others, Being-thinking from Aristotle to Heidegger, and system-building from Plato to Whitehead. The resulting ontology is termed Einaic Ontology for maximalist, mutually collusive, categorial reasons.

Webber's perceptive new introduction helps to decipher this challenging, seminal work, placing it in the context of the author's work and the history of ...

Jean-Paul Sartre is one of the most famous philosophers of the twentieth century. The principal founder of existentialism, a political thinker and famous novelist and dramatist, his work has exerted enormous influence in philosophy, literature, politics and cultural studies. Jean-Paul Sartre: Basic Writings is the first collection of Sartre's key philosophical writings and provides an indispensable resource for readers of his work. Stephen Priest's clear and helpful introductions make the volume an ideal companion to those coming to Sartre's (...) writing for the first time. (shrink)

The last and most poignant of these essays is The Intruder, Nancys philosophical meditation on his heart transplant.

Le comte Joseph de Maistre fut un ennemi radical des Lumières.