Lyotard

เหตุการณ์ 9/11 สะท้อนให้เห็นถึงการดารงอยู่ของเรื่องเล่าขนาดใหญ่ (metanarratives) ซึ่งยังมิได้ถูกปฏิเสธหรือล้มล้างลงแต่อย่างใด ยิ่งไปกว่านั้นเรื่องเล่าขนาดใหญ่ที่ถูกผลิตและผลิตซ้าโดยสหรัฐอเมริกากลับกลายเป็นเรื่องเล่าอันทรงพลังซึ่งส่งผลต่อความคิดและความเชื่อของชาวอเมริกันและพลเมืองโลก กล่าวคือเรื่องเล่าขนาดใหญ่ของสหรัฐฯสามารถแย่งชิงพื้นที่ในการเล่าเรื่องและเบียดบังเรื่องเล่าระดับรอง (micronarratives) ไม่ให้สามารถมีสิทธิมีเสียงในการเมืองระหว่างประเทศ ตลอดจนยึดกุมความรู้และสถาปนาเรื่องเล่าขนาดใหญ่อันปราศซึ่งข้อโต้แย้ง นอกจากนี้เรื่องเล่าขนาดใหญ่ยังถูกใช้เพื่อสร้างความชอบธรรมในการทาสงครามต่อต้านการก่อการร้ายและความพยายามในการจัดระเบียบโลกใหม่ของสหรัฐฯ

The aftermath of 9/11 reflects the existence of metarratives that has not been denied or lost their credibility; furthermore, the metanarratives produced and reproduced by the United States effectively control not only the mindset of Americans but also global citizens. Besides, the American metanarratives seize the space of micronarratives whose spatial positions were vanished from world politics. The American metanarratives also control the sphere of knowledge and establish the unquestionable metanarratives. In addition, the American metanarratives has been used to legitimize the War on Terrorism as well as American attempts creating the new world order.

This undergraduate dissertation from 2009 postulates that videogames are an exemplary postmodern medium, as per an understanding of postmondernism garnered from the writing of Jean-Francois Lyotard and Jean Baudrillard.

It elaborates that the medium can illustrate Douglass Kellner's postmodern appropriation of neo-Gramscian hegemony, and contributes to a growing understanding of a participatory culture.

Hideo Kokima's Metal Gear Solid 2: Sons of Liberty (2001) is analysed as an example of a postmodern text within the medium.

"ABSTRACT:
    This study assumes the subject's pursuit of meaning is generally incapacitating and should be suspended. It aims to demonstrate how such a suspension is theoretically accomplished by utilizing Lacan's formulae of sexuation integrated with his work in discourse theory and topology.
    Part I places this study into context by examining scholarship from the established fields of hermeneutics, phenomenology, (post)structuralism, aesthetic theory and psychoanalysis in order to extract out their respective theory of meaning. These theories reveal that an historical struggle with meaning has been underway since the Reformation and reaches near crisis proportions in the 20th century. On the one hand this crisis is mollified by the rise of Heideggerian-Gadamerian hermeneutical phenomenology which questions traditional epistemological approaches to the text using a new ontological conceptualization of meaning and a conscious rejection of methodology. On the other hand this crisis is exacerbated when the ubiquitous nature of meaning is itself challenged by (post)structuralism's discovery of the signifier which inscribes a limit to meaning, and by the domains of sense and nonsense newly opened up by aesthetic theory. These historical developments culminate in the field of psychoanalysis which most consequentially delimits a cause of meaning said to be closely linked to the core of subjectivity.
    Part II extends these findings by rigorously constructing out of the Lacanian sexuated formulae a decidedly non-hermeneutical phenomenological approach useful in demonstrating the sexual nature of meaning. Explicated in their static state by way of an account of their original derivation from the Aristotelian logical square, it is argued that these four formulae are relevant to basic concerns of textual theory inclusive of the hermeneutical circle of meaning. These formulae are then set into motion by integrating them with Lacan's four discourses to demonstrate the breakdown of meaning. Finally, the cuts and sutures of two-dimensional space that is topology as set down in L'étourdit are performed to confirm how the very field of meaning is ultimately suspended from a nonsensical singular point known in Lacanian psychoanalysis as objet a. The contention is that by occupying this point the subject frees himself from the debilitating grip of meaning."

Zeitgenössische philosophische Texte haben oftmals einen performativen Charakter, der gerade nicht als »Stil« zu bezeichnen, sondern ausdrücklich (mit-)gelesen werden muss, um die Aussage zu verstehen. Der Artikel zeichnet nicht nur mehrere zentrale Schrift-Gesten bei Martin Heidegger, Jacques Derrida, Emmanuel Levinas, Jean-François Lyotard u.a. nach, sondern beschreibt zugleich in einer »Phänomenologie des Lesens« die Notwendigkeit dieser Ausdrucksformen für ein gegenwärtiges Denken, das auf metaphysische Ordnungen und Sicherheiten verzichten muss.

I argue that the philosophy of Jean-Francois Lyotard and the film "Brazil" are mutually enriching and illuminating when read in conjunction, particularly around issues of technocapitalism, private selfhood, nostalgia, and the concept of The Human

"The French contemporary artist Pierre Huyghe enjoys international acclaim, witness the many one-person and group exhibitions in which his work has been featured, and the prizes he has been awarded. His workplace in New York City, where this interview was conducted on January 20th, 2017, is an office where research and thinking take place and not a studio where things are made. The work Huyghe and/or others produce following his directives seems based upon raising questions, but what these are is unclear. Therefore, what the answers are is equally so".

https://www.theartsection.com/pierre-huyghe

Metaphern prägen das Nachdenken über Politik, indem sie einige Argumente als besonders plausibel nahelegen, andere dagegen in den Hintergrund der Aufmerksamkeit rücken. Im 20. Jahrhundert steigt eine Metapher in besonderer Weise zu einer Leitfigur der theoretischen Reflexion von Politik auf: die Metapher des Spiels. Als Metapher des Schauspiels prägt sie ab den 1950er Jahren eine zunächst kritische, dann aber konstruktive Auseinandersetzung mit Repräsentations-prozessen; als Metapher des agonalen Wettstreits verändert sie die Wahrnehmung von demokratischen Konflikten. In beiden Erscheinungsformen sind Spielmetaphern ein Reflexionsmedium von Kontingenzerfahrungen. Die Autorin erzählt die Geschichte politischer Spielmetaphern anhand von fünf Fallstudien aus dem deutschen, englischen und französischen Sprachraum: den französischen Situationisten, Jean-François Lyotard, Hannah Arendt, der agonalen Demo-kratietheorie und Jacques Rancière.

in: Is there a Judeo-Christian Tradition?, Ed: Anya Topolski and Emmanuel Nathan, in Series: Perspectives on Jewish Texts and Contexts, De Gruyter Press, 2016, pp. 225-240. full version: https://www.degruyter.com/view/books/9783110416596/9783110416596-013/9783110416596-013.xml
In my article I will discuss the concept of "the Jews" and inquire about the question of the compounding-Hyphen found within the concept of "Judeo-Christian" in the work of Jean-François Lyotard. I wonder about the actual wonderment, that which forms the basic axis of Lyotard’s discussion, inquiring into the specific placement of the hyphen connecting the Judeo concept with the Christian one, while questioning the actual possibility of disconnecting between the two.
In light of the theological and historical 'stickiness' existing between these two religious traditions, I will suggested to think about the relations between Judaism and Christianity in a manner more complex than just connected or disconnected via Hyphen. Additional relations which are not bound to the graphics of the compounding-Hyphen or its negation through separation are required; rather allowing meandering shades and lines of repression, breaking above, under and at side, in accordance with the understanding that such graphics do not offer a simple release from the truly embroiled relations between these two legacies.
In his latter works – "Heidegger and 'the Jews'” and "On a Hyphen" Lyotard deals with the concept of ‘The Jews’. Lyotard, in wake of his punctuating of the flow of philosophical discourse with the help of the terms différend, post-modernism and meta-narrative, examines what we so pretentiously dared to conceive as an engine propelling the train of progress, its fuel - which successfully managed to urge it forward so faithfully and efficiently. The lesson of the European historical adventure reveals to us the fact that the Jew-Object went thoroughly through a process of drastic objectification, while he was already-an-Object in the eyes of the so-called-native, supposedly well situated within the European Heimat ever since. In light of this lesson, and due to the discomforting situation of our work within a discourse in the post-critical era which is, well... sticky and does not allow us even the simplest of separations between paragraphs, between sentences, between identities, or even between the respective essences' of Christianity and Judaism, or either between one aspect and its alleged contradiction; we may argue, vis-a-vis Lyotard, that the fuel consumed by the train, screaming its own soon-to-become-retrospective-murdered - the consumerdered - is not only the Jew as a body, as a raw material in the most real and non-metaphorical sense, but also the concept, as the "The Jew" - as a concept, a singular subsumed within a plural concept that is thus twice contained, first as an individual-concept and secondly as within the group of "The Jews" – and as such is nothing but a purified projection serving the inner Christian debate regarding the essence of Christianity, its ambitions, its destiny and the fate of Europe.

El capital ha sustituido a Dios como organizador último de las es feras del discurso, pero ya no se trata de un suelo trascendente a todas ellas, que permita hilarías en un todo de sentidos, sino que las fragmenta y dispone un universo de diálogo autónomo (y autista) dentro de cada una, por lo que su exterioridad apenas puede ya distinguirse. Desde esta terrible perspectiva se niega toda posibilidad de cambio, pues se niega toda diferencia, todo lo otro de lo dado con lo que articular nuevos espacios de sentido. Pero la razón puede ser dominadora o liberadora. Por encima de los conceptos cerrados, mutiladores, que las redes de poder imponen sobre el discurso, el filósofo debe encontrar las correspondencias transversales, las ligaduras ocultas, no creer en la transparencia total de una razón impuesta, que a menudo se muestra opaca. Ése es el espacio donde se jugará la partida del reconocimiento.

Comparing to figura and the figurative, the figural has a shorter history. In Discourse, Figure (1971), Jean-François Lyotard thoroughly elaborated on this notion. A decade later, Gilles Deleuze further developed it in The Logic of Sensation (1981), where the productive Diagram and the intensive Sensation are both related to the Figure. Building upon those previous works, the goal of the present essay is twofold: first, to advance the figural as a concept that allows for the understanding of representation as a disproportion between qualitatively different realms (text vs. image, conscious vs. unconscious, visible vs. invisible) – a synchronic approach dealing with the general principles of representation. Secondly, the study investigates whether a diachronic function of the figural can be traced in art history. The hypothesis here is that there is a transgressive intensity of images that unfolds throughout art history. In order to test this hypothesis, the essay addresses the temporality of the figura in Erich Auerbach’s interpretation, as well as the idea of an afterlife of Antiquity in Aby Warburg’s and Horst Bredekamp’s image-act theory. The conclusion is that representation includes and depends on an ontological difference between that which conditions its own structure (what is allowed to be represented) and a surplus of sense coming from the object of representation and its perception (as object of desire). The figural (and its conceptual siblings) shows how images determine our understanding of the world while relating it to a productive potential emerging from desire, the unconscious, sensation or God.

In recent years, the claim of the unrepresentability of the Shoah has stirred vivid debates, especially following the strong positions taken by the French filmmaker Claude Lanzmann and author of Shoah (1986). This claim of unrepresentability, it can be shown, draws part of its attraction from the fact that it oscillates undecidedly between a claim of logical impossibility (“the Shoah can’t be represented”) and a normative demand (“the Shoah shouldn’t be represented”). This essay analyzes the argumentative structure of the advocates of the unrepresentability and shows why the often made connection to Kant is flawed. Although his Critique of the Power of Judgment affirms indeed that the prohibition of representation is the “perhaps most sublime passage in the Jewish Law”, turning the prohibition of representation into a supposedly Kantian claim does not hold grounds. The essay reconstructs the political framework of the debate, situates the Kantian passage in its precise philosophical context and then successively assesses the main arguments put forward by Jean-Luc Nancy, Jacques Rancière and Georges Didi-Huberman in their critique of Lanzmann’s categorical imperative. While showing why the rhetoric of the “unrepresentable” bear troubling structural analogies to what they want to fight (i.e. the politics of erasure, which always also include the erasure of the traces of erasure), a certain notion of the “unrepresentable” is rescued nevertheless at the end of the essay. Representation, so it is argued by returning to a Kantian distinction, is not a matter of Kanon, but a matter of Organon, which then puts the debate about the Sublime (which took place between Lyotard and Rancière in the 90’s) into a new perspective.

The author sketches a Lyotardian reading of John Cage's plant pieces from the mid-1970s. Given that both Jean-François Lyotard and Cage were concerned at the time with working through Marcel Duchamp's multifarious legacies, the author uses Lyotard's writings on Duchamp to unpack the operation of indeterminacy in Cage's ecological events, triangulating between Lyotard's claim that "There is no art, because there are no objects" [1] and Cage's acknowledgement that "Strictly musical questions are no longer serious questions" [2].

John Ruskin (1819-1900) once described the terms objective and subjective as “the most objectionable words that were ever coined by the troublesomeness of metaphysicians.” He thought that thedivision created by these terms confuses how subjects and objects are designated. In the wake of thinkers such as French Rationalist, René Descartes (1596-1650) and German Idealist Georg Wilhelm Friedrich Hegel (1770-1831), modern philosophy has generally embraced a metaphysical binary play between the subject and the object. As part of the humanities, art history has described the post-Enlightenment age as a time marked by these two “objectionable words” and tried to understand how subjectivity and objectivity have influenced art’s development. This chapter examines how the art-historical perception of the relation between the subject and the object has changed over time. Such a task inevitably involves a survey of the relation between art and science—the latter of which is a system associated with objectivity—with an emphasis on those historical moments when the two became closely interrelated. The architectural representation of perspective in Filippo Brunelleschi’s (1377-1446) lost painting of the Baptistery of San Giovanni in Florence and the sculpture of his fellow Florentine Lorenzo Ghiberti (1378-1455) represent one such moment. Leon Battista Alberti (1404-1472) offered a theoretical explanation of linear perspective in his treatise De Pictura (1435), while Brunelleschi and Ghiberti became its earliest practitioners. This development evinces cross-pollination between art and science but it would be inaccurate to characterize, as do some contemporary theorists discussed here, the artists’ interest in scientific knowledge as a misguided preoccupation with objectivity. As a matter of fact, such a description undermines the very notion of subjectivity that it purports to advance. An analysis of these artists’ works, coupled with a consideration of the theories constructed by later art historians and critics about them, suggests that both objectivity and subjectivity are integral to the structure of art, as “organic” as that structure may be. Furthermore, the rejection of one or the other, typical of aesthetic relativism, necessarily implies denying that meaning is relevant to the concept of art.

Music improvisation is an act of human-becoming: of self-expression—an articulation of histories and memories that have molded its participants—and of exploration—a search for unimagined structures that break with the stale norms of majoritarian culture. Given that the former objective may inhibit the latter, we propose an integration of human musical improvisers and deliberately flawed creative software agents that are designed to catalyze the development of human-ratified minoritarian musical structures

Detailed reading of the "Autumn Floods" section of the Zhuangzi, sandwiched between in depth analyses of two important sections of Zhuangzi ch. 2: the "Eight Virtues" and the Butterfly Dream. Argues that Zhuangzi proposes two models for enabling an ethics built on facing and accepting our limitations and what we don't know or control, as opposed to attempting to lay illusory foundations or principles; and that he does so embracing rather than rejecting reason -- ethics derived from reason within its aporetic parameters. In short, he is neither a full scale relativist nor a skeptic.

Il est bien connu que la référence à la pensée de Wittgenstein (aussi bien celle qui est développée dans le Tractatus que celle des Recherches philosophiques) travaille en surface et surtout en profondeur l'exposition du Différend de Lyotard. Au lieu de se demander « où sont passés les jeux de langage? » comme l'a proposé Niels Brügger, ou d'interroger la fidélité de l'usage que Lyotard fait de la référence à Wittgenstein - comme l'a fait Jacques Bouveresse dans Rationalité et Cynisme, on tentera de confronter ces deux pensées à partir du prisme du concept d'univers introduit par Lyotard, en faisant jouer l'introduction de ce concept contre la critique d'anthropomorphisme que ce dernier adresse à Wittgenstein. Si Lyotard distingue l'univers du monde, l'usage qu'il fait de l'univers ne s'expose-t-elle pas à des critiques symétriques de celles qu'il adresse à Wittgenstein ? Cette piste semble d'autant plus tentante que Lyotard engage lui-même un dialogue avec l'usage tractarien du monde. L'horizon de cette réflexion sera d'esquisser un concept de situation qui, pour reprendre et transposer les termes de Lyotard, se refuse à traiter la situation comme une "mise en situation", afin de montrer qu'en dernière instance l'usage que Wittgenstein fait lui-même du concept d"'image du monde" ne cède pas à l'illusion représentationnaliste que Lyotard lui prête.

Il presente file, titolo: Republicanismvs Geopoliticvs Fontes Origenes et Via, contiene testi e link di Massimo Morigi sull’estetizzazione della politica e sul ‘Repubblicanesimo geopolitico’. Il ‘Repubblicanesimo Geopolitico’ è una dottrina politologica e filosofico-politica elaborata negli ultimi anni dall’ autore  in cui i sette paper copia-incollati nelle  pagine di questo file costituiscono l’elaborazione storico-filosofica che ha portato all’elaborazione finale del ‘Repubblicanesimo Geopolitico’,  di cui si potrà prendere visione cliccando nei link posti nella parte finale del file al termine dei sette paper copia-incollati nel file. In questi precedenti paper era stato messo a fuoco, fra le altre cose,  un nuovo tipo di repubblicanesimo profondamente debitore delle suggestioni dell’estetizzazione della politica, con le sue luci delle avanguardie artistiche e con le sue terribili ombre dei regimi totalitari, così come si era manifestata nel corso del Novecento (il numero della nota a piè di pagina che all’inizio di ogni nuovo paper non riparte da 1 ma aggiunge 1 all’ultimo numero di nota del precedente paper pur essendo dovuto ad un automatismo del copia-incolla è, se vogliamo, anche un accidente altamente simbolico del filo rosso, fra riflessioni sul repubblicanesimo e sulla estetizzazione della politica, che attraversa tutti questi interventi). Il ‘Repubblicanesimo Geopolitico’ raccoglie queste suggestioni ed intende innestarle nel tronco della tradizione realista della Geopolitica. Un realismo politico quello del ‘Repubblicanesimo geopolitico’ che però, rinnovato dalla scuola costruttivista delle relazioni internazionali (Alexander Wendt), pone in primo piano una spazialità non solo geografica  ma anche di natura mentale, rappresentativa e culturale (in fondo la moderna noopolitik non è che una riscrittura postmoderna dell’estetizzazione della politica novecentesca)  e che, proprio perché strettamente vincolato in senso machiavelliano all’effettualità, rifiuta con irrisione tutte le ingenue, quando non interessate, visioni  liberal-neopositivistiche alla Popper e si riallaccia direttamente ai grandi pensatori dialettici Hegel e Marx (da questo punto di vista, il ‘Repubblicanesimo geopolitico’ si distacca drasticamente da tutte le vulgate neomarxiste: in primo luogo perché integralmente dialettico, in secondo luogo perché non cerca surrogati salvifici alla classe operaia ma individua, sulla scia di Gianfranco La Grassa, negli agenti strategici interni ed internazionali gli autentici operatori dell’evoluzione delle società capitalistiche – ma a differenza della versione lagrassiana del marxismo, il ‘Repubblicanesimo geopolitico’ si tiene ben stretta, ed intende sviluppare, la visione dialettica hegelo-marxiana della realtà). Possiamo così affermare che generare una profonda dialettica fra realismo politico e le mai sopite pulsioni verso l’estetizzazione della politica (impresa alla quale fu dedicata la vita del più grande rappresentante della filosofia politica del Novecento, Hannah Arendt, alla quale però fece sempre velo la sua formazione kantiana) sia il compito che si prefigge il ‘Repubblicanesimo Geopolitico’. Un repubblicanesimo, quello geopolitico, che ha pertanto definitivamente abbandonato una visione della libertà intesa come non dominio che ha segnato – ed estenuato – le ormai  vecchie ed attardate  vulgate del neorepubblicaneismo e che è invece fermamente indirizzato alla realizzazione di una autentica, profonda ed intima Vita Activa.

Massimo Morigi – Ravenna, 8 ottobre 2014

One of the key claims in Jean-Francois Lyotard's "Discourse, Figure" is that the dialectical method (the backbone of Western philosophy) tends to obscure and hide all which is invisible, illegible and sensual. Lyotard's strategy in exposing this rift within language (and philosophy) is by way of showing that the distance between the sign and the referent should not be thought of as negation but as a form of expression. Instead of the dialectical relation between the image and the object Lyotard proposes radical heterogeneity that he names 'thickness'. This paper examines Lyotard's non-dialectical approach in relation to the title of the book and argues that the comma is positioned as the sensual technology that creates the possibility of discursive continuity.

Antigone est-elle vouée à ne pas exister en vue de la génération, en vue de fonder sa propre famille, parce qu’elle préfère se vouer d’abord à Œdipe, qu’elle accompagne à Colone, puis à Polynice dont elle honore la dépouille malgré l’interdit de Créon ? Est-elle vouée au sacrifice à cause de son attachement excessif au père-frère et à un autre de ses frères ? C’était probablement l’avis de Freud – un avis aujourd’hui discuté par Judith Butler, qui voit dans la fille d’Œdipe le rejet d’une norme dont Freud, en cela semblable à Créon, serait le champion. Si le geste de J. Butler entérine la thèse d’une Antigone en proie à des désirs socialement prohibés, il consiste à réhabiliter ces désirs à l’intérieur de la cité, face au Tyran, et à faire ainsi du combat d’Antigone un combat à la fois mélancolique et politique. La lecture lyotardienne d’Antigone consiste en général, quant à elle, à faire de la jeune fille la victime d’un différend entre deux « jeux de langage » irréconciliables, là où je propose de voir, tout autrement, la victime d’une excessive et fatale inquiétude – celle de Créon – motivée par la désobéissance. Plus inquiet, au dernier épisode de la tragédie, d’avoir bafoué la loi morale que d’avoir été contredit, Créon se dédit lui-même et tombe d’accord avec la jeune fille, laquelle s’est néanmoins déjà donné la mort après avoir été enterrée vivante. La tragédie encourage alors à interroger l’exigence initiale de la jeune fille, ce que je fais ici en m’efforçant de nuancer tant la grille de lecture freudienne que la lecture proposée par J. Butler, afin de revenir à la question de ce différend d’abord logé en nous-mêmes : celui de l’enfance et de la dette inaccordable envers celle-ci. Car nous pouvons encore rendre justice à Antigone à défaut de pouvoir résorber la dette envers notre enfance, toutefois à condition de supporter ladite dette, son existence, en sacrifiant quant à nous toute hâte, toute impatience à « enterrer » Antigone, fût-ce comme héroïne absolue (voire absolutiste) ou comme coupable de désirs incestueux (destructeurs pour les autres et pour elle-même). Je soutiens, en effet, que notre impatience à faire dire à la jeune fille ce qu’elle ne dit pas constitue une injustice dont la source loge elle-même dans notre hâte à juger, assigner, partant rejeter ce qui, souvent, résiste pourtant à la conceptualisation, même quand cette conceptualité s’applique à soustraire quelque chose à une autre conceptualité réputée « méchante ». Et je rapporte ici, ultimement, cette hâte à celle d’accorder l’inaccordable de l’enfance, au risque d’être injuste envers soi-même autant qu’envers les autres.

In this essay I bracket the formally approved UK definition of impact as “an effect on, change or benefit to the economy, society, culture, public policy or services, health, the environment or quality of life, beyond academia”. I do this in order to focus on the impact of Artistic Research on the practitioner herself, rather than her stakeholders: I am interested in the effects of research before academia. The discourse in question is Western Classical instrumental pedagogy, and the research in question is that undertaken by instrumental pedagogues in conservatoires. My focus is on the passage from output to impact and the means by which practitioners of Artistic Research incorporate impact into output.

This dissertation examines the language turns inside Jean-François Lyotard’s oeuvre. We narrow down this research through a perspective of linguistics, semiotics, and philosophy of language, focusing mainly on his writings of the 1970s. We begin with a detailed analysis of his doctorat d’État, Discourse, figure (1971), which aesthetics and art are taken as an object, and thus appointing the “figural” as a “language outside” element (first turn) amid a crossing-over of phenomenology, structuralism and psychoanalys. In Dérive à partir de Marx et Freud (1973), Des dispositifs pulsionnels (1973) and Libidinal Economy (1974), a “libidinal philosophy” establishes itself when the “sign tensors” are affirmed through a metaphysical drive engendered by the “libidinal band”. These works are followed by Lessons in Paganism (1977) and Rudiments païens (1977), both claiming outskirts singularities, i. e., antagonistic forces between the unity and the center that he gathers under the label “paganism”. Throughout a linguistic turn situation, there is a withdrawal of his previous “libidinal philosophy”, moving towards a “language without outside” (second turn) located within the discourse analysis based in pragmatics, the logical paradoxes of sophistry and the language games. The heterogeneity of language games is shown in The Postmodern Condition (1979) and Just Gaming (1979); thereafter, an ontological “language without outside” establishes itself in The Differend’s (1983) “phrase regimens” and “genres of discourse”. Driven by a didactical division of Lyotard’s oeuvre drawn by Alberto Gualandi (albeit overlooked on his analysis between the conceptual follow-ups and gaps inside Lyotard’s texts), the main hypothesis that guides this dissertation is to show his theoretical shifts on the 1970s, along with Lyotard’s multiple views of language around an “outside” and an “inside”, especially through the notions of event and otherness/alterity. Finally, we intend to introduce Lyotard’s complex and fertile thought on Portuguese language, beyond its overt importance to aesthetics and philosophy of art, and by highlighting its innovations to contemporary epistemology, language theory, psychoanalysis, ethics and political theory.
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La présente dissertation veut analyser les tournants du langage dans l’œuvre de Jean-François Lyotard. Cette étude se concentre sur le point de vue des études linguistiques, sémiotiques et de la philosophie du langage, soulignant surtout les écrits des années 1970. Elle s’ouvre par une analyse approfondie de son doctorat d’État, le livre Discours, figure (1971), dont l’esthétique et l’art sont pris comme objet, en désignant le « figural » comme un élément « dehors du langage » (premier tour) depuis les passages croisés de la phénoménologie, du structuralisme et de la psychanalyse. Ensuite dans Dérive à partir de Marx et Freud (1973), Des dispositifs pulsionnels (1973) et Économie libidinale (1974), s’établit une « philosophie libidinale » dont s’affirment les « signes tenseurs » dès une métaphysique pulsionnelle engendrée par la « bande libidinale ». Puis se succèdent les Instructions païennes (1977) et Rudiments païens (1977), ces deux en affirmant les singularités périphériques, c’est-à-dire des forces antagonistes à l'unité et au centre qu’il recueille sous le nom de « paganisme ». Dans le contexte d’un tournant langagier, se produit une régression de sa précédente « philosophie libidinale », plutôt vers un « langage sans dehors » (deuxième tour) qui se situe à des analyses discursives sur la pragmatique, des paradoxes logiques de la sophistique et des jeux de langage. L’hétérogénéité des jeux de langage est à la fois présentée dans La condition postmoderne (1979) et Au juste (1979) ; alors, le « langage sans dehors » ontologisé s’établit comme « régimes de phrase » et les « genres de discours » dans Le différend (1983). Cette investigation a été motivée par une périodisation didactique de l’oeuvre réalisée par Alberto Gualandi (toutefois très synthétique à l’analyse entre les continuités et discontinuités conceptuelles qui ont lieu dans les textes de Lyotard) ; l’hypothèse centrale qui la guide est de démontrer que les déplacements théoriques des années 1970, ainsi que les plusieurs conceptions de Lyotard du langage se déplacent dans un « dehors » et un « dedans » du langage, notamment au long des notions d’événement et d’altérité. Enfin, nous avons le but d’introduire pour les lecteurs lusophones la pensée complexe et féconde de Lyotard, au-delà de son importance dans les études esthétiques, en soulignant les innovations à des études contemporaines de l'épistémologie, du langage, de la psychanalyse, de l'éthique et politique.
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Esta dissertação busca analisar os giros da linguagem no interior da obra de Jean-François Lyotard. Delimitamos esta pesquisa a partir da perspectiva dos estudos linguísticos, semióticos e da filosofia da linguagem, abordando, sobretudo, os escritos da década de 1970. Inicia-se com uma análise detalhada do seu doctorat d’État, o livro Discours, figure (1971), em que se toma como objeto a estética e a arte, designando o “figural” como elemento “fora da linguagem” (primeiro giro) a partir de um cruzamento da fenomenologia, estruturalismo e psicanálise. Em Dérive à partir de Marx et Freud (1973), Des dispositifs pulsionnels (1973) e Économie libidinale (1974), consolida-se uma “filosofia libidinal” em que se afirmam os “signos tensores” por meio de uma metafísica pulsional engendrada pela “banda libidinal”. Seguem-se Instructions païennes (1977) e Rudiments païens (1977) afirmando as singularidades periféricas, isto é, forças antagônicas à unidade e ao centro que ele reúne sob o nome “paganismo”. No contexto de um tournant langagier, ocorre uma retração da sua “filosofia libidinal” prévia, direcionando-se a uma “linguagem sem fora” (segundo giro) que se situa no interior das análises discursivas na pragmática, dos paradoxos lógicos da sofística e dos jogos de linguagem. A heterogeneidade dos jogos de linguagem é apresentada em A condição pósmoderna (1979) e Au juste (1979); em seguida, a “linguagem sem fora” ontologizada se consolida nos “regimes de frase” e nos “gêneros de discurso” de Le différend (1983). Estimulada por uma divisão didática da obra elaborada por Alberto Gualandi (porém panorâmica na análise entre as continuidades e descontinuidades conceituais internas aos textos de Lyotard), a hipótese central que orienta esta dissertação consiste em mostrar que os deslocamentos teóricos na década de 1970, bem como as múltiplas concepções de linguagem de Lyotard movimentam-se em um “fora” e um “dentro” da linguagem, sobretudo por meio das noções de acontecimento e alteridade. Por fim, pretendemos introduzir em língua portuguesa o pensamento complexo e fecundo de Lyotard para além da sua importância nos estudos estéticos, ao destacar inovações nos estudos contemporâneos de epistemologia, linguagem, psicanálise, ética e política.

"In this current essay we will discuss the concept of "the Jews" and inquire about the question of the compounding-Hyphen found within the concept of "Judeo-Christian" in the work of Jean-François Lyotard. Let us wonder about the actual wonderment, that which forms the basic axis of Lyotard’s discussion, inquiring into the specific placement of the hyphen connecting the Judeo concept with the Christian one, while questioning the actual possibility of disconnecting between the two.
In light of the theological and historical 'stickiness' existing between these two religious traditions, we are suggested to think about the relations between Judaism and Christianity in a manner more complex than just connected or disconnected via Hyphen. Additional relations which are not bound to the graphics of the compounding-Hyphen or its negation through separation are required; rather allowing meandering shades and lines of repression, breaking above, under and at side, in accordance with the understanding that such graphics do not offer a simple release from the truly embroiled relations between these two legacies."

Resumo O artigo propõe a análise de aspectos da exposição Les Immateriaux. Curada pelo filósofo Jean-François Lyotard em 1964, foi apresentada no Centre Georges Pompidou, em Paris, de 28 de março a 15 de julho de 1985. A mostra significou um marco na história das exposições por servir como veículo visual para a transmissão de um discurso filosófico. Entende-se que a pertinência da análise é advinda da possibilidade de discutir aspectos da metodologia de estudo da história das exposições, da utilização da curadoria aliada ao pensamento filosófico e do diagnóstico de aspectos característicos da curadoria contemporânea. Palavras-chave: Arte-Técnicas de exposições. Curadoria. Imaterialismo (Filosofia). Abstract The article proposes the analysis of aspects of the exhibition Les Immateriaux. Curated by the philosopher Jean-François Lyotard in 1964, it was presented at the Center Georges Pompidou, in Paris, from March 28 to July 15 of 1985. The exhibition marked a milestone in the history of the exhibitions for serving as a visual vehicle for the transmission of a philosophical discourse. It is understood that the relevance of the analysis comes from the possibility of discussing aspects of the methodology for studying the history of exhibitions, the use of curatorship combined with philosophical thinking and the diagnosis of characteristic aspects of contemporary curatorship.

Jeudi 22, vendredi 23, et samedi 24 septembre 2016 Bâtiment F, salle des Actes. Organisé par Pascale Gillot (François Rabelais/Tours), Elise Marrou (Paris Sorbonne Archives Husserl), Judith Revel (Paris Ouest Nanterre/Sophiapol). Dans le cadre du projet de recherche Philosophie française et philosophie analytique au 20ème siècle, porté par Elie During (Paris Ouest Nanterre/IREPh) et Jean-Michel Salanskis (Paris Ouest Nanterre/IREPh).

The individual, a subject of law or a symbolic animal? Discomfort in the law. How can it be explained that the text concerning the prohibition of religious signs in the public sphere in France can be justified in the name of human rights in France and condemned in the name of human rights at the United Nations? The present article attempts to explain this situation on the basis of the notion of dispute expounded by J. F. Lyotard; it tries to explain the new trends in contemporary law on the basis of the distinction between dispute and litigation. Le moment est venu de considérer l'essence de cette civilisation dont la valeur, en tant que dispensatrice du bonheur, a été révoquée en doute. Nous n'allons pas exiger une formule qui la définisse en peu de mots avant même d'avoir tiré de son examen quelque clarté. Il nous suffira de redire que le terme de civilisation désigne la totalité des oeuvres et organisations dont l'institution nous éloigne de l'état animal de nos ancêtres et qui servent à deux fins : la protection de l'homme contre la nature et la réglementation des relations des hommes entre eux. S. Freud, Malaise dans la civilisation Comment s'articulent deux facettes de l'être humain ?D'un côté l'être humain comme symbole ou animal symbolique pour reprendre l'expression du philosophe E. Cassirer ; de l'autre, l'être humain comme sujet de droit partant du principe que, pour citer le philosophe A. Kojève, « il est impossible d'étudier la réalité humaine sans se heurter tôt ou tard au phénomène du Droit » 1. * Maître de conférences en droit privé HDR, Docteur en sociologie, Université Paris-Dauphine, CR2D 1 A. Kojeve, Esquisse d'une phénoménologie du droit, Tel Gallimard, 2005, p. 10.