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Les écrits politiques de Diderot n'ont d'équivalent que l'Esprit des lois de Montesquieu ou le Contrat social de Rousseau. Plus variés que le premier, moins doctrinaires que le second, ils abordent, avec pertinence et alacrité, une multitude de sujets dont l'actualité ne s'est pas démentie depuis. Parmi eux les problèmes posés par la propriété intellectuelle et artistique et les droits d'auteurs (Lettre sur le commerce de la librairie), le conflit entre la nécessité du pouvoir et sa tendance à se transformer en tyrannie (L'Anti-Frédéric), la difficulté d'imaginer un enseignement universitaire ouvert sur la vie (Plan d'une université), le procès du colonialisme (Contributions à l'histoire des deux Indes). A ces textes ont été joints – et c'est là une des nouveautés de cette édition – les articles " Arithmétique politique ", " Autorité politique ", " Citoyen ", " Créoles ", " Croisades ", " Droit naturel ", " Législation " et d'autres, que Diderot a donnés à l'Encyclopédie.

Ferney, 2000. 2 Volumes/2. -- Neufs -- Reliures éditeur cartonnées. Format in-8°( 27,5 x 18,5 cm )( 2970 gr ). ------- 464 + 480 pages, 72 illustrations. *********************** '' Destiné à combler l'une des grandes lacunes bibliographiques du siècle des Lumières, cet ouvrage répertorie toutes les éditions des uvres de Diderot parues jusqu'en 1900. Editions originales, réimpressions, traductions, sont méthodiquement décrites, avec leurs localisations dans les bibliothèques d'Europe, d'Amérique, d'Asie. David Adams, professeur à l'université de Manchester, ne s'est pourtant pas contenté de décrire les résultats de ses recherches; dans une introduction historique et analytique, il cherche aussi à évaluer la réputation et l'influence de Diderot depuis le dix-huitième siècle telle qu'elles se révèlent à travers les données de la bibliographie matérielle. Le portrait du philosophe qui se dégage de ces recherches diffère de manière significative de celui que nous ont proposé de nombreux commentateurs, qui se fondent uniquement sur le témoignage des archives ou sur les réactions souvent hostiles de critiques, intéressés ou désintéressés. Les notices sont composées des éléments suivants: la cote de l'exemplaire décrit; la transcription du titre et du faux-titre; le format du volume; les dimensions de la page imprimée; les signatures; la pagination; les filigranes; la numérotation des page; les réclames; la tomaison; le nombre de lignes; l'hauteur de l'exemplaire; le contenu; les titres courants; les bandeaux, lettrines et ornements; les planches hors texte; des notes et commentaires; en dernier lieu se trouve la liste des autres exemplaires répertoriés. '' *********************************

Jacques and His Master is a deliciously witty and entertaining play by Milan Kundera, the acclaimed Franco-Czech author of The Unbearable Lightness of Being and The Book of Laughter and Forgetting.A highly original variation on Enlightenment philosopher Denis Diderot's novel Jacques le Fataliste, Jacques and His Master has been successfully staged all over the world. This new translation by Simon Callow has been authorized by Kundera as the definitive edition.

The eighteenth-century French philosophe Denis Diderot―the principal intelligence behind the Encyclopédie and the author of idiosyncratic fictional works such as Jacques the Fatalist and Rameau's Nephew―was also the first great art critic. Until now, however, Diderot's treatises on the visual arts have been available only in French. This two-volume edition makes the most important of his art-critical texts available in English for the first time.Diderot's works are among the most provocative and engaging products of the French Enlightenment. Moreover, their ruminations on many issues of perennial interest (invention versus convention, nature versus culture, and technique versus imagination; the complex relations between economic reality and artistic achievement) give them a rare pertinence to current debates on the nature and function of representation. All the celebrated pieces are here: the rhapsodic dream meditation inspired by Fragonard's Corésus and Callierhoé; the incident-packed "excursion" through a set of landscapes by Joseph Vernet; the evocative consideration of the nature of ruins and historical nostalgia prompted by the first showing of works by Hubert Robert. But these famous passages can now be considered in their proper context, surrounded by meditations that are less well known but equally sparkling. The book also includes brief introductory texts and annotations by John Goodman that clarify the many references to contemporary Parisian culture, as well as an introduction by Thomas Crow that sets the texts in their historical and art-historical context.

The eighteenth-century French philosophe Denis Diderot―the principal intelligence behind the Encyclopédie and the author of idiosyncratic fictional works such as Jacques the Fatalist and Rameau’s Nephew―was also the first great art critic. Until now, however, Diderot’s treatises on the visual arts have been available only in French.  This two-volume edition makes the most important of his art-critical texts available in English for the first time. Diderot’s works are among the most provocative and engaging products of the French Enlightenment.  Moreover, their ruminations on many issues of perennial interest (invention versus convention, nature versus culture, and technique versus imagination; the complex relations between economic reality and artistic achievement) give them a rare pertinence to current debates on the nature and function of representation.  All the celebrated pieces are here: the rhapsodic dream meditation inspired by Fragonards’ Corésus and Callierhoé; the incident-packed “excursion” through a set of landscapes by Joseph Vernet; the evocative consideration of the nature of ruins and historical nostalgia prompted by the first showing of works by Hubert Robert.  But these famous passages can now be considered in their proper context, surrounded by meditations that are less well known but equally sparkling.  The book also includes brief introductory texts and annotations by John Goodman that clarify the many references to contemporary Parisian culture, as well as an introduction by Thomas Crow that sets the texts in their historical and art-historical context. 

A dual biography crafted around the famous encounter between the French philosopher who wrote about power and the Russian empress who wielded it with great aplomb.In October 1773, after a grueling trek from Paris, the aged and ailing Denis Diderot stumbled from a carriage in wintery St. Petersburg. The century’s most subversive thinker, Diderot arrived as the guest of its most ambitious and admired ruler, Empress Catherine of Russia. What followed was unprecedented: more than forty private meetings, stretching over nearly four months, between these two extraordinary figures. Diderot had come from Paris in order to guide―or so he thought―the woman who had become the continent’s last great hope for an enlightened ruler. But as it soon became clear, Catherine had a very different understanding not just of her role but of his as well. Philosophers, she claimed, had the luxury of writing on unfeeling paper. Rulers had the task of writing on human skin, sensitive to the slightest touch.Diderot and Catherine’s series of meetings, held in her private chambers at the Hermitage, captured the imagination of their contemporaries. While heads of state like Frederick of Prussia feared the consequences of these conversations, intellectuals like Voltaire hoped they would further the goals of the Enlightenment.In Catherine & Diderot, Robert Zaretsky traces the lives of these two remarkable figures, inviting us to reflect on the fraught relationship between politics and philosophy, and between a man of thought and a woman of action.

Physical description; xiii, 524p, [12]p of plates : ill, map, ports ; 24cm. Subject; Diderot, Denis 1713-1784 - Biography.

Denis Diderot, The Paradox of the actor Diderot’s “thesis is that a great actor must not be sensitive; or, in other words, that he must not feel the emotions he expresses. "Extreme sensitiveness makes poor actors ; while absolute lack of sensitiveness is a quality of the highest acting." He sustains this view by six arguments, viz.: we can not repeat emotion at will, but the power is soon exhausted; the age when the comedian is at his greatest is not youth, when he is quick and full of emotion, but after he has had a long experience, when the ardor of his passions has subsided and his head is calm and his spirit self-possessed; certain facts going to show that the performer's real feelings are different from those which he is expressing on the stage; and, finally, his best argument, and the one on which his thesis mainly rests, that one can not do two things at a time. The actor has to be observant of his playing, to regulate its effects, his gestures, and his exclamations, to see that they are correct, to keep his mind on the scene, to recollect his part. All this critical work is incompatible with sincere emotion. When a person is really moved, when he feels some great woe, while he may indeed sink upon a chair as the actor does in the scene, he does not keep watch of his attitude while falling or think how to make it expressive and harmonious, but gives himself wholly up to his trouble.”— Alfred Binet, The Paradox of Diderot.

The flourishing of radical philosophy in Baron Thierry Holbach's Paris salon from the 1750s to the 1770s stands as a seminal event in Western history. Holbach's house was an international epicenter of revolutionary ideas and intellectual daring, bringing together such original minds as Denis Diderot, Laurence Sterne, David Hume, Adam Smith, Ferdinando Galiani, Horace Walpole, Benjamin Franklin, Guillaume Raynal, and Jean-Jacques Rousseau.In A Wicked Company, acclaimed historian Philipp Blom retraces the fortunes of this exceptional group of friends. All brilliant minds, full of wit, courage, and insight, their thinking created a different and radical French Enlightenment based on atheism, passion, reason, and truly humanist thinking. A startlingly relevant work of narrative history, A Wicked Company forces us to confront with new eyes the foundational debates about modern society and its future.

A Wicked Company tells the remarkable story of Baron Thierry Holbach's Parisian salon, an epicenter of freethinking that brought together the greatest minds of the 18th century. Over wine-soaked dinner parties, the finest intellectuals of the Western world—figures such as Denis Diderot, Jean-Jacques Rousseau, David Hume, Adam Smith, Horace Walpole, and Benjamin Franklin—matched wits and scandalized one another with their own ever-more-provocative ideas. Writers of genius all, full of wit and courage (but also personal contradictions, doubts, conflicts of conscience, and their fair share of open arguments and love affairs), this group of friends embodied an astonishing radicalism in European thought, so uncompromising and bold that its bracing, liberating, humanist vision has still not been fully realized. As acclaimed historian Philipp Blom shows, these thinkers' analysis of our culture remains as valid as it was then, and has lost little of its potential to shock—or to force us to confront with new eyes debates about our society and its future.

Denis Diderot (1713-1784) was among the greatest writers of the Enlightenment, and in Jacques the Fatalist he brilliantly challenged the artificialities of conventional French fiction of his age. Riding through France with his master, the servant Jacques appears to act as though he is truly free in a world of dizzying variety and unpredictability. Characters emerge and disappear as the pair travel across the country, and tales begin and are submerged by greater stories, to reveal a panoramic view of eighteenth-century society. But while Jacques seems to choose his own path, he remains convinced of one philosophical belief: that every decision he makes, however whimsical, is wholly predetermined. Playful, picaresque and comic, Diderot's novelis a compelling exploration of Enlightment philosophy. Brilliantly original in style, it is one of the greatest precursors to post-modern literature.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Gresset is Professor Emeritus of American Literature at the Institut d'Anglais Charles V of the University Denis Diderot (Paris VII) in France, has taught at San Diego State University, the University of British Columbia, and Harvard.

In his brilliant and witty dialogue, Denis Diderot invents a chance encounter in a Paris café between two acquaintances. Their talk ranges broadly across art, music, education, and the contemporary scene, as the nephew of composer Rameau, amoral and bohemian, alternately shocks and amuses the moral, bourgeois figure of his interlocutor. Exuberant and highly entertaining, the dialogue exposes the corruption of society in Diderot's characteristic philosophical exploration. The debates of the French Enlightenment speak to us vividly in this sparkling new translation, which also includes the only English translation of First Satire, a related work that provides the context for Rameau's Nephew, Diderot's 'second satire.' Edited by distinguished translator Margaret Mauldon, with lively introduction and notes by Nicholas Cronk, the edition includes, for the first time in English, extracts from Goethe's commentary on this seminal Enlightenment work. It will prove a valuable addition to the library to any lover of French literature.

This unique love story, based on a novelette by by Denis Diderot and with dialogue written by Jean Cocteau, follows the maneuverings of a society lady as she connives to initiate a scandalous affair between her aristocratic ex-lover and a prostitute. Blanchette Brunoy, Lucienne Bogaert, and Paul Bernard. Still gallery; Essays by Francois Truffaut and David Thomson. Year: 1945 Runtime: 85 minutes English & French.