Chris Marker’s portrait of Alexandre Medvedkine in the 1993 film Le tombeau d’Alexandre/The Last Bolshevik is highly instructive of his own relationship to Soviet cinema. Most especially, this difficult or troubled rapport with the antecedents to cinéma vérité in the West (and its protean formal properties, in terms of structure and often satirical-critical commentary) comes forth in the figures he assembles to comment upon Medvedkine’s life work. When Medvedkine’s Scast’e (Le Bonheur/Happiness) (1934) leaked to the West (c.1967), sent (...) like an “SOS” in multiple bottles to various film archives (one by one from deep within the Soviet film world), Marker and SLON received a copy by way of Jacques Ledoux (curator of the Cinémathèque Royale de Belgique, in Belgium). The film opened the floodgates of a retrospective survey of Soviet filmmaking repressed and forgotten other than by remote and distant figures (partisans) who somehow survived the Stalinist purges of the 1930s. (shrink)

Tout le film est toujours une microphysique du pouvoir, en potence, d’être étudier. Aujourd’hui l'augmentation des productions d'horreur et son public ont fait le film d'horreur une «contreculture» dominante, mais toujours sous l'effet négatif du pouvoir et du savoir qui disqualifient les discours, matérialisée dans ces films, ce qui les rend illégitime et exiler en soi espace filmique, transformée en un lieu adapté pour interdite et marquée par certaines pratiques discursives avec certains dispositifs d'exclusion. Paradoxalement, les types marginaux qui apparaissent (...) dans l'ordre de ces productions occupent les positions de sujets à exercer le pouvoir dans l'horreur et dans le même temps le renforcement de leur marginalité et de son objectivation. Ces aspects et les spécificités qui caractérisent les productions d'une part, nous ont amenés à identifier les pratiques de l'objectivation qui transforment corps dans les sujets dans l'horreur; d'autre part, de démontrer que ces films constituent une nouvelle technologie de contrôle social des corps, mais l'objectif principal de cette étude est d'analyser les relations de pouvoir à travers l'antagonisme des stratégies dans ce discours, qui est, pour savoir ce que cela signifie d'avoir un corps libre, nous examinons ce qui se passe sur le corps subjugué dans les films d'horreur, prenant l'archeogenealogie de Foucault comme base théorique. Cette questionhypothèse aurait un autre groupe: d'où pourrait faire une telle histoire? Nous supposons que dans les moments de crise, les films d'horreur ont beaucoup à prouver, donc nous avons opté pour un très similaire à celui qui Foucault a été invité par les experts de la revue Cahiers du cinéma pour discuter des conditions pour les productions cinématographiques comme Le Chagrin et la Pitié (1969), Portier de nuit (1974) et Lacombe Lucien (1974), quand on a regardé le déclin du gaullisme et l’ascention de Valéry Giscard d'Estaing , le vainqueur de la présidentielle de 1974, avec le soutien de l'ancien droit Tardieu et petainistes, anciens alliés de l'occupation du Führer Hitler de la France, entre 1940 à 1943. Maintenant, les conditions de production sont ceux qui marquent la fin des gouvernements socialistes de Mitterrand et Chirac, et le retour au pouvoir de la droite, à l'ascension politique de Nicolas Sarkozy. Au milieu de la crise économique de l'Union Européenne, flotte dans l'air la peur terrifiante de risque que l'arrivée de l'extrême droite au pouvoir. La présence croissante d'immigrants est aussi dans l'ordre d'une nouvelle crise de l'identité française. Ce sont les conditions de production de À l'intérieur, Frontière (s),Martyrs, Ils, La Meute, Captifs et Derrière les murs et, des films qui font partie de notre corpus. À la methodologie, nous développons les trois concepts opérationnels: le dispositif filmique de la mémoire, de la vérité et de l'objectivité pour traiter la mémoire populaire, recodé dans ces films et soi-disant perçu par nous comme l'un des principaux modes de contrôle des corps d’horreur; la notion d’intericonicité est encore utilisée pour indiquer des images qui renvoient à d'autres, mais tout en réalisant que chaque image a dans sa juxtaposition afin de utopies des hétérotopies. Donc, nous avons décidé de donner une nouvelle forme à cette notion, y compris l'utopique juxtaposés à des espaces hétérotopiques, sous l'influence de la discussion faite par Foucault dans le Corps utopique et Les hétérotopies. Keyword:Mémoire. Corps. Pouvoir. Discours politique. Film français d’horreur. (shrink)

According to Veritism, true belief is the sole fundamental epistemic value. Epistemologists often take Veritism to entail that all other epistemic items can only have value by standing in certain instrumental relations—namely, by tending to produce a high ratio of true to false beliefs or by being products of sources with this tendency. Yet many value theorists outside epistemology deny that all derivative value is grounded in instrumental relations to fundamental value. Veritists, I believe, can and should follow suit. After (...) setting the stage in §1, I explain in §2 why Veritism should not take an Instrumentalist form. Instrumentalist Veritism faces a generalized version of the swamping problem. But this problem undermines Instrumentalism, not Veritism: granting Instrumentalism, similar problems arise for any economical epistemic axiology. I show in §3 how Veritism can take a less narrow form and solve the swamping problem. After answering some objections in §4, I consider in §5 what some would regard as a less radical alternative solution and argue that it either fails or collapses into mine. I close in §6 by taking stock and re-evaluating the overall prospects for Veritism, suggesting that it is a highly promising epistemic axiology when divorced from Instrumentalism. (shrink)

Veritism says that the fundamental source of epistemic value for a doxastic state is the extent to which it represents the world correctly: that is, its fundamental epistemic value is deter...

Elgin offers an influential and far-reaching challenge to veritism. She takes scientific understanding to be non-factive and maintains that there are epistemically useful falsehoods that figure ineliminably in scientific understanding and whose falsehood is no epistemic defect. Veritism, she argues, cannot account for these facts. This paper argues that while Elgin rightly draws attention to several features of epistemic practices frequently neglected by veritists, veritists have numerous plausible ways of responding to her arguments. In particular, it is not clear that (...) false propositional commitments figure ineliminably in understanding in the manner supposed by Elgin. Moreover, even if scientific understanding were non-factive and false propositional commitments did figure ineliminably in understanding, the veritist can account for this in several ways without thereby abandoning veritism. (shrink)

Veritists hold that only truth has fundamental epistemic value. They are committed to explaining all other instances of epistemic goodness as somehow deriving their value through a relation to truth, and in order to do so they arguably need a non-instrumental relation of epistemic value derivation. As is currently common in epistemology, many veritists assume that the epistemic is an insulated evaluative domain: claims about what has epistemic value are independent of claims about what has value simpliciter. This paper argues (...) that the insulation approach to epistemic value is incompatible with non-instrumental epistemic value derivation. Veritsts who want to avail themselves of this important explanatory resource should therefore abandon the insulation approach. (shrink)

The idea that logic is in some sense normative for thought and reasoning is a familiar one. Some of the most prominent figures in the history of philosophy including Kant and Frege have been among its defenders. The most natural way of spelling out this idea is to formulate wide-scope deductive requirements on belief which rule out certain states as irrational. But what can account for the truth of such deductive requirements of rationality? By far, the most prominent responses draw (...) in one way or another on the idea that belief aims at the truth. In this paper, I consider two ways of making this line of thought more precise and I argue that they both fail. In particular, I examine a recent attempt by Epistemic Utility Theory to give a veritist account of deductive coherence requirements. I argue that despite its proponents’ best efforts, Epistemic Utility Theory cannot vindicate such requirements. (shrink)

Le réalisme scientifique occupe une place centrale dans le système philosophique de Mario Bunge. Au cœur de cette thèse, on trouve l’affirmation selon laquelle nous pouvons connaître le monde partiellement. Il s’ensuit que les théories scientifiques ne sont pas totalement vraies ou totalement fausses, mais plutôt partiellement vraies et partiellement fausses. Ces énoncés sur la connaissance scientifique, à première vue plausible pour quiconque est familier avec la pratique scientifique, demandent néanmoins à être clarifiés, précisés et, ultimement, à être inclus dans (...) un cadre théorique plus large et rigoureux. Depuis ses toutes premières publications sur ces questions et jusqu’à récemment, Mario Bunge n’a cessé d’interpeller les philosophes afin qu’ils développent une théorie, au sens propre du terme, de la vérité partielle afin de clarifier les enjeux épistémologiques liés au réalisme scientifique. Bunge a lui-même proposé plusieurs parties de cette théorie au fil des années, mais aucune de ces propositions ne l’a satisfait pleinement et la construction de cette théorie demeure un problème entier. Dans ce texte, nous passerons rapidement en revue certaines des approches proposées par Bunge dans ses publications et nous esquisserons certaines pistes qui devraient servir à tout le moins de desiderata pour la construction d’une théorie de la vérité partielle. (shrink)

La présente étude utilise les outils du domaine de la méréotopologie (la théorie des parts, ensembles et frontières) pour élaborer les implications de certaines analogies entre la 'psychologie écologique' de J.J.Gibson et la phénoménologie de Edmund Husserl. On présentera une théorie ontologique de frontières spatiales et des entités possédant une extension spatiale. S'en rapportant aux exemples de la sphère de géographie, on démontre qu'aussi bien les frontières que les entités à extension spatiale appartiennent à deux vastes catégories: des objets qui (...) existent indépendamment de nos actes cognitifs (par exemple: la planète Terre, sa surface extérieure); et des objets qui existent seulement grâce à ces actes (par exemple: l'équateur, la Mer du Nord). Le champ visuel, lui aussi, peut être conçu comme un exemple d'une entité à extension spatiale qui est dépendante dans le sens proposé ci-dessus. L'étude présente suggère une extension de cette analogie en postulant les entités qui, pour les vrais jugements, seraient ce que le champ visuel est pour les actes de perception visuelle. Le champ de jugement est défini plus précisément comme une entité étendue complexe, contenant toutes les entités essentielles pour la vérité d'un (vrai) jugement donné. Il est possible de démontrer que le travail des linguistes cognitifs tel Talmy ou Langacker, si l'on l'interprète convenablement, produit une explication détaillée des structures des champs de jugement correspondant aux phrases de sortes différentes. Un genre nouveau de définition de la vérité en tant que correspondance pour les expressions de la langue naturelle peut donc être formulé sur cette base. (shrink)

The Deleuzian studies on cinema highlight the importance of two semiotic regimes (movement-image and time-image) for the understanding of our aesthetical and epistemological relationship with moving images. On the contrary, this article highlights the moments of crisis between the two regimes, pointing out the generic character of uncertainty and ambiguity in the nature of mental images: once the sensorimotor scheme that dominates the cinematographic montage has been weakened, the characters, unable to act, can imagine, desire, dream, hallucinate, and remember. New (...) types of images appear: recollectionimages, dream-images, and world-images. How do these new types of images make us rethink our usual relationship with the world and with reality? With this article on cinema’s virtual and oneiric dimension, I expect to disseminate one of Gilles Deleuze’s greatest contributions to film philosophy: the distinction between the imaginary and reality. (shrink)

Os estudos deleuzianos sobre o cinema destacam a importância dos dois regimes semióticos (imagem-movimento e imagem-tempo) para a compreensão da nossa relação estética e epistemológica com as imagens em movimento. Pelo contrário, este artigo procura destacar os momentos de crise entre os dois regimes assinalando o carácter genérico de incerteza e ambiguidade da natureza das imagens mentais: enfraquecido o esquema sensório-motor que domina na montagem cinematográfica, as personagens, incapazes de agir, podem imaginar, desejar, sonhar, alucinar, e lembrar. Surgem novos tipos (...) de imagem: imagens-recordação, imagens-sonho e imagens-mundo. Como é que esses novos tipos de imagem nos fazem repensar a nossa habitual relação com o mundo e com a realidade? Com este artigo sobre a dimensão virtual e onírica do cinema, procuro contribuir para uma maior disseminação de um dos principais contributos de Gilles Deleuze para a filosofia do cinema: a distinção entre o imaginário e a realidade. (shrink)

This article focuses on the apparently paradoxical remarks of Novalis on landscape, which followed the famous “Romantikertreffen” of August 1798: that decisive meeting of the “early German romantics” on the occasion of a communal visit to the painting and sculpture galleries in Dresden. We analyze how Novalis surpasses the phenomenological conception of landscape painting proposed by August Wilhelm Schlegel by resorting to the "incorrect" categories of sculpture and haptic sense to talk about the feeling for nature that governs landscape painting. (...) This is the aesthetics of Herder – his reflections in the treatise “Sculpture” (1778) on the actual concrete and tangible force of the beautiful and the central importance it accords to the experience of one’s own body (a highly modern conception) – which is diverted here in a typical Novalisian gesture that we will show is consistent with his philosophy. The reception of Herder has contributed to the development in Novalis of a Pygmalionic aesthetics of contact with things that casts a different light on early romanticism: it is not only the exclusive exercise of a critical reflexivity that assumes distance, but also of a sensibility that seeks a tactile meeting point as it were between what is separated. (shrink)

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser concedes that there (...) exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

We first survey the Catholic social justice tradition, the foundation on which Caritas in Veritate builds. Then we discuss Benedict’s addition of love to the philosophical virtues (as applied to economics), and how radical a change that makes to an ethical perspective on economics. We emphasise the reality of the interpersonal aspects of present-day economic exchanges, using insights from two disciplines that have recognized that reality, human resources and marketing. Personal encounter really is a major factor in economic exchanges in (...) professional services, such as law and medicine. Finally, we examine the prospects for an economics of gratuitousness at a level higher than the individual, that is, for businesses devoted to social ends more than profit. -/- . (shrink)

We argue that there is a tension between two monistic claims that are the core of recent work in epistemic consequentialism. The first is a form of monism about epistemic value, commonly known as veritism: accuracy is the sole final objective to be promoted in the epistemic domain. The other is a form of monism about a class of epistemic scoring rules: that is, strictly proper scoring rules are the only legitimate measures of inaccuracy. These two monisms, we argue, are (...) in tension with each other. If only accuracy has final epistemic value, then there are legitimate alternatives to strictly proper scoring rules. Our argument relies on the way scoring rules are used in contexts where accuracy is rewarded, such as education. (shrink)

uses Schopenhauer, Lacan, and Buddhism to elucidate the tragic sense of human existence as conveyed by Wong Kar-wai.

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

Cinema is not only a space in which directors act with the aim of making art, but they also reflect their own testimonies and political perspectives; this study, which claims to be related to representation strategies that contain various interests and desires; It is of the opinion that different ideological approaches are reflected on the screen by political and cultural elites in line with the construction, legitimacy and movement of identities and images. In this study, which examines the Türkiye’nin Kalbi (...) Ankara movie, which was shot in the intense socio-political atmosphere of the 1930s and was shot to tell Turkey's nationalization process and modernization experience through the capital Ankara; the manifestation of the Turkish nation-building process in cinema is discussed through the relationship between nationalism and cinema. (shrink)

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can that (...) seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

ArgumentIn 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the laboratory. (...) The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, with the purpose of elucidating how dreams and reality mix in the development of science and technology. It is about desired machines and their often unexpected results. The interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be (the fantastical) drives scientific research. (shrink)

Os corpos no cinema estão sob a ordem de um olhar soberano que nos diz para onde devemos olhar e como devemos fazer isso. É um olhar poderoso que tudo sabe e tudo pode. Um olhar que nos posiciona não como simples espectadores, mas como sujeitos. É a partir daí que buscamos compreender como se arquitetam o medo, ou seja, qual é a ordem do cinema de horror, tecido com a pena do medo? Nessa arquitetura, os corpos aparecem como lugares (...) para vigiar e punir em espaços utópicos e heterotópicos. Espaços de memórias. Espaços de poder vigiar e punir. Espaço onde se impõe uma posição de sujeito, um poder sobre o sujeito. Portanto, os corpos no cinema de horror são artefatos para uma arqueologia do medo, escrita pelo poder do horror sobre estes corpos. Daí nosso interesse por esses lugares. Para demonstrar essa arqueologia, utilizaremos dois filmes franceses, produzidos em 2007, Frontière(s) e À l’interieur como espaços de horror construídos para o medo pelas vias da utopia e heterotopias pensadas por Michel Foucault, filósofo do presente, do nosso presente para compreender como se arquitetam tal medo por meio de sua história arqueológica, prática de um espaço chamado Labedisco/UESB. (shrink)

Neste capítulo, vamos tratar do discurso-corpo demarcado pelas utopias em justaposição com as heterotopias em duas produções cinematográficas do horror francês contemporâneo. Dessa forma, o corpo que operamos é feito de discurso, ou seja, todo seu tecido, seus órgãos, seus sistemas, seus ossos são discursos sobrepostos pelo visível e pelo dizível, da mesma forma, como demonstrou Foucault na obra O Nascimento da Clínica em 1963.

In 2003, biophysicist and Nobel Laureate Maurice Wilkins published his autobiography entitled The Third Man. In the preface, he diffidently points out that the title was chosen by his publisher, as a reference to the famous 1949 movie no doubt, featuring Orson Welles in his classical role as penicillin racketeer Harry Lime. In this paper I intend to show that there is much more to this title than merely its familiar ring. If subjected to a comparative analysis, multiple correspondences between (...) movie and memoirs can be brought to the fore. Taken together, these documents shed an intriguing light on the vicissitudes of budding life sciences research during the post-war era. I will focus my comparative analysis on issues still relevant today, such as dual use, the handling of sensitive scientific information and, finally, on the interwovenness of science and warfare. Thus, I will explain how science autobiographies on the one hand and genres of the imagination on the other may deepen our comprehension of tensions and dilemmas of life sciences research then and now. For that reason, science autobiographies can provide valuable input for teaching philosophy and history of science to science students. (shrink)

The church-funded CARFO or KARFO (Afrikaans Christian Filmmaking Organisation) was established in 1947, and aimed to ‘[socialise] the newly urbanized Afrikaner into a Christian urban society’ (Tomaselli 1985:25; Paleker 2009:45). This initiative was supported and sustained by the Dutch Reformed Church (DRC), which had itself been part of the sociopolitical and ideological fabric of Afrikaans religious life for a while and would guide Afrikaners through tensions between religious conservatism and liberalism and into apartheid. Given Afrikaans cinema’s ties with Christian religious (...) and political conservatism, we explore the role – even the centrality – of the Afrikaans church in cultural activity before 1994, and then after 1994. Here, Afrikaans church is an inclusive term that brings together various denominations of Afrikaans-speaking churches, but which mainly suggests the domination of the DRC. After establishing the role of the Afrikaans church in the way described above, we move towards the primary focus of our study: exploring the representation of clergy in the contemporary Afrikaans film Faan se Trein in order to describe certain theological implications of this representation. With reference to Faan se Trein, our article notes and comments on the shifts that have occurred in clergy representation in Afrikaans cinema over the past decades. Osmer’s four tasks of practical theology, namely, descriptive, interpretive, normative and strategic are used for theological reflection. With due contextual reference to Afrikaans film dramas such as Broer Matie [Brother Matie], Saak van Geloof [A Matter of Faith], Roepman [Stargazer], Stilte [Silence], Suiderkruis [Southern Cross] and Faan se Trein, we arrive at some preliminary conclusions about the representation of clergy in mainly contemporary Afrikaans cinema. (shrink)

L’étude proposée ici se déroulera en trois moments. Il s’agit, dans un premier temps, de revenir sur la manière dont la question du rapport entre vérité et fiction est posée dans le Traité des sensations de Condillac. Il faut rappeler la justification du recours à la fiction d’une statue gagnant un sens à la fois dans le cadre d’une analyse portant sur l’origine des idées, c’est-à-dire du recours à l’imagination dans le contexte d’une enquête métaphysique ressortissant à la raison. (...) Dans un second temps, il faut se pencher sur ce qu’on peut appeler la fonction du romanesque dans le dispositif global de la fiction condillacienne, c’est-à-dire, non pas seulement ce qui revient au fictionnel, mais en propre à un art narratif visant des séquences événementielles singulières. Enfin, on terminera par quelques remarques sur ce qui est très souvent négligé dans les études portant sur ce texte – du moins en philosophie, et qui ne manque pourtant pas d’être curieux, à savoir, justement, son inscription dans le registre des Mémoires ou des pseudo-Mémoires. (shrink)

I respond to Wes Sharrock and Rupert Read’s argument that we should not count very long supposed translations of very short sentences as translations. I cannot see that a length mismatch alone should disqualify a sentence from counting as a translation.

In digital cinema, the ambiguity in the concept of representation asks us: How do moving pictures represent fictional objects? I am more concerned in the veracity of fictional objects than the representational theory of how fictional objects are generated. I claim that John Dilworth’s framework is uncritical, therefore, I will adopt an account of truth in fiction according to David Lewis. The purposes of this paper are: (1) to criticize John Dilworth’s framework, and (2) to provide Lewis’s theory as an (...) alternative solution in understanding the veracity of fictional objects. (shrink)

In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...) examine the concept of miasma by focusing on the characters in La Jauría, one of the most prominent films of recent South American cinema, rather than a purely conceptual analysis of the concept. Filmed in the jungles of Colombia and directed by Colombian director Andrés Ramírez Pulido, the 2022 film La Jauría is a psychological drama that focuses on the lives of young people involved in crime. The tragic story of Eliu, the protagonist of the film, which takes place mainly in a prison specially designed to rehabilitate inmates, seems to us to be a very suitable focal point for examining the concepts of miasma, catharsis, and ecstasy, which are frequently referred to in ancient Greek tragedy. To do so, we will first address the various contexts in which miasma has been used historically, considering the flow of events in the movie La Jauría. Then, we will look at the relationship of the concept of miasma with the problem of evil. Finally, we will discuss the possibilities of the concept of purification, which is seen as a kind of antidote to miasma. (shrink)

Why did human beings throughout the millennia so often think about a doomsday? Could there be a profit to our inner pleasure and pain equilibrium, when believing that doomsday is nearing, an idea suggested by Sigmund Freud? An analogous instinctive dynamics was thought by Nietzsche who wrote that human beings do prefer to want the nothingness rather than not to want anything at all. In this essay, 'Melancholia', a movie by Lars von Trier, is taken as an exquisite masterpiece, a (...) grandiose exposition of Schopenhauer and Nietzsche Philosophies.. (shrink)

RESUMEN: La muerte del hombre anunciada por Foucault está en estrecha relación con la muerte de Dios anunciada por Nietzsche. El retorno del lenguaje conlleva la desaparición del hombre como figura cardinal del saber moderno. La historia es discontinua. Foucault dudó de las verdades de cada época y de las verdades intemporales. En este artículo trazo el recorrido del hombre en Les mots et les choses, mostrando la tensión entre el lenguaje y la desaparición del hombre, hablo de la discontinuidad (...) de la historia y los “jeux de vérité”, y muestro que Foucault se consideraba, por encima de todo, un pensador escéptico. / ABSTRACT: The death of man proclaimed by Foucault is in close relationship with the death of God proclaimed by Nietzsche. The return of language is linked with the disappearance of man. History is discontinuos. Foucault doubted the truths of each era as well as the timeless truths. In this article I present man’s journey in Foucault’s Les mots et les choses, showing the tension between language and the disappearance of man, I talk about historical discontinuity and the “jeux de vérité”, and I argue that Foucault considered himself, above all, a skeptical thinker. (shrink)

It is generally agreed that one of the key differences between ancient skepticism and modern and contemporary skepticism is that the ancient skeptic does not call into question the existence of the external world, but only our ability to know the properties or qualities of external objects. In this paper, I argue that in Sextus Empiricus's attack on the Epicurean criterion of truth one finds evidence that the ancient Pyrrhonist also suspends judgment about the existence of external objects.

In True enough,, Elgin argues against veritism, which is the view that truth is the paramount epistemic objective. Elgin’s argument against veritism proceeds from considering the role that models, idealizations, and thought experiments play in science to the conclusion that veritism is unacceptable. In this commentary, I argue that Elgin’s argument fails as an argument against veritism. I sketch a refutation by logical analogy of Elgin’s argument. Just as one can aim at gold medals and still find approximations to gold, (...) such as silver and bronze medals, to be acceptable and honest achievements in competitive sports, one can aim at full truths as the paramount epistemic objective and still find approximations to truth, such as models and idealizations, to be acceptable and honest achievements in scientific inquiry. (shrink)

Le passage spéculatif de la catégorie du mauvais infini dans le véritable infini reste l’un des plus importants dans la Science de la logique. Comme il est bien connu, ce passage est expliqué par Hegel à travers sa théorie de l’idéalité du fini. Pourtant, du fait de sa structure complexe, le surgissement du véritable infini au sein du fini par l’idéalisation peut être considéré comme un processus abstrait, consistant seulement à supprimer la dualité de l’infinité. Cet article se propose donc (...) d’examiner pourquoi l’idéalisation de la véritable infini ne signifie ni une simple neutralisation de la catégorie de la finité ni une infinitisation extérieure de celle-ci, mais un processus dynamique qui s’infinitise en supprimant l’opposition statique du fini et de l’infini. (shrink)

Il est question dans cette méditation métaphysique d'examiner l'horizon de la vérité de notre condition humaine terrestre. Par-dela les révélations du langage, il s'agit de penser la réalité organique de la 'différance' au sein du réel. La transcendance des formes historiques contingentes, et l'ouverture silencieuse à la réalité absolue du possible, se manifestent comme la signification de la différance. Ils sont la vérité organique de toute vie humaine épanouie, l'ultime et inexorable condition de la réalisation du sujet.

L’objectivité permettrait d’assurer la supériorité de la science par rapport à d’autres modes de connaissance. Elle doit donc être défendue, surtout en cette « ère de post-vérité » où les « faits alternatifs » remplacent les faits avérés, en politique comme ailleurs. Or les attaques proviennent autant de l’extérieur que de l’intérieur de la sphère philosophique. Il convient donc de tenter d’opérer la réconciliation la plus large possible avec deux représentants de clans (très) opposés, Mario Bunge et Bruno Latour. (...) Réinvestissant les grandes conceptions de la notion d’objectivité, je propose ici trois chantiers pour cette réconciliation : la mise au rancart des conceptions naïves et parfois insincères de la science, la réévaluation des contextes de découverte et de justification, et celle de la distinction faits-valeurs. (shrink)

The following Introduction briefly traces, albeit in jarring cuts, the evolution of caste question and its relationship with Indian cinema. It also tries to point out some aspects of Indian film theory, its lacunae and hopes that some of the questions raised here may give rise to future works by other (better) theorists. Pre-Independence cinema in India rarely addressed caste question, and if it did, then it was through an abstract global humanist lens. This tendency to address caste through a (...) hollow and empty shell of a theoretical model unfortunately has stuck around even in these times, and only found newer ways to reinvent itself in Neoliberal times. To understand the reason of Indian cinema’s lack of addressing caste more directly and pointedly, it has to be seen as part of a historical process. Only then can we see the history of ideology that is “outside of itself”, that is, in the material conditions that made possible Indian caste-society as well as its cine-culture. It also tries to raise questions about the film form, and its many possibilities of experimentation with the caste question (i.e. both in ideological and experiential possibilities). Lastly, it introduces some of the key works in this issue. Of course, with the hope that the readers will forgive and give respite to the many lacuna of the issue, as well as the Editor himself. (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they can come together.

Sob o título "Immanent Frames. Postsecular Cinema between Malick and von Trier", o livro editado por John Caruana e Mark Cauchi inclui um conjunto significativo de artigos sobre cinema “pós-secular”, de autores prestigiados, nomeadamente os próprios editores, mas também Robert Sinnerbrink, Catherine Wheatley, Sarah Cooper e William Rotham, entre outros. O livro está estruturado em 13 capítulos, distribuídos por três partes – Parte I: “The Poles of Postsecular Cinema: Malick and Von Trier”; Parte II: “The Spectrum of Postsecular Cinema: Beyond (...) Malick and Von Trier”; e Parte III: “Conversation on Cinema: Luc Dardenne and Jean-Luc Nancy”, esta última constituída por duas entrevistas, respectivamente com o cineasta e o filósofo. (shrink)

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

Despite the closure of virtually all original grindhouse cinemas, ‘grindhouse’ lives on as a conceptual term. This article contends that the prevailing conceptualization of ‘grindhouse’ is problematized by a widening gap between the original grindhouse context (‘past’) and the DVD/home-viewing context (present). Despite fans’ and filmmakers’ desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The continuing (...) usefulness of grindhouse-qua-concept requires that one should pay heed to the contemporary contexts in which ‘grindhouse’ is evoked. (shrink)

Caritas in Veritate leaves us with a question, Does Benedict XVI see politics as a practice or as an institution? How one answers this question has tremendous implications for how one should address the inequalities of contemporary society and the increasing globalization of the world. Alasdair MacIntyre, for instance, would consider politics to be primarily a practice with a good internal to its activities. This good consists in rational deliberation with others about the common good. If one considers politics an (...) institution, however, as seems to be the case with Jacques Maritain, then one pays less attention to the common good and more attention to the mechanics of the political institution. The difference in understanding goes a long way toward how one conceives of, determines, and achieves the common good, a central task for Catholic social teaching. It also prefigures whether and how one can justify self-sacrifice for the common good, demanded of police officers and soldiers, for instance, as well as whether and how one prioritizes the practices of a given political community. Caritas in Veritate (CIV) brings to the forefront issues of self-sacrifice and prioritization of practices at the global level. This paper shall address the position Benedict XVI lays out on globalization with reference to a global politics through the lens of the common good and the distinction between practice and institution. (shrink)

Une mise en lumière de la spécificité du cinéma en trois parties : le cinéma et l'image, le cinéma et le langage, le cinéma et le montage. Deux textes de G. Deleuze et N. Burch complètent l'ensemble.

The interpretation of the Holy Bible has always done in two distinct environments: in the Church and outside it. If for the Holy Fathers the Church was the only institution that can guarantee the integrity, apostolicity, inspiration and canonicity of the sacred text, as well as the right way of interpreting, heretics have read the Bible for widening an already created gap between them and the Church. The current Protestant exegesis tends to reconsider the interpretative tradition, inquiring about the effects (...) or the understanding of the Holy Scriptures texts, quoting as Wirkungsgeschichte a summary of the directions of where some pericopes were understood. But is this new approach sufficient for an accurate understanding of the Holly Bible message? (shrink)

Ce livre propose, à partir du constat de difficultés importantes et de paradoxes dans la conception heideggérienne de la vérité comme décèlement (aletheia), une nouvelle interprétation du fameux « tournant » qui sera compris comme la nécessité d’une structure d’inversion réciproque des rapports fondatifs. Contre tous les replis subjectifs ou les fixations sur des subsistances illusoires, cette structure « tournante » (à la racine du cercle herméneutique) montre comment aucune vérité ne s’établit sans sortie hors de soi, sans (...) être provoquée par ce qui la met en question et qu’ainsi, contrairement à ce que croyait Levinas, la pensée de Heidegger ne consacre pas un enfermement dans le même, mais constitue une invitation à la différence. Le philosophe de Messkirch élabore une « logique » du questionnement et l’exigence d’un étonnement impliquant une attention sans cesse renouvelée qui visent à réveiller la vocation du savoir ─ compris comme une des plus hautes formes de respect ─ bien plus qu’à s’étourdir de vaines mises en abîmes. Cet ouvrage, bien qu’il témoigne d’une attention scolaire, ne veut pas être un commentaire destiné aux seuls spécialistes, mais constitue l’effort, à partir d’une certaine autonomie philosophique, de présenter la pensée heideggérienne à ceux qu’elle devrait intéresser, de l’arracher aux préjugés dans lesquels elle est souvent emprisonnée et d’en défendre le meilleur. (shrink)