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Foucault continues on the theme of his 1978 course by focusing on the study of liberal and neo-liberal forms of government and concentrating in particular on two forms of neo-liberalism: German post-war liberalism and the liberalism of the Chicago School.

"I define the Neutral as that which outplays the paradigm, or rather I call Neutral everything that baffles paradigm." With these words, Roland Barthes describes a concept that profoundly shaped his work and was the subject of a landmark series of lectures delivered in 1978 at the Collège de France, just two years before his death. Not published in France until 2002, and appearing in English for the first time, these creative and engaging lectures deepen our understanding of Roland Barthes's intellectual itinerary and reveal his distinctive style as thinker and teacher. The Neutral (le neutre), as Barthes describes it, escapes or undoes the paradigmatic binary oppositions that structure and produce meaning in Western thought and discourse. These binaries are found in all aspects of human society ranging from language to sexuality to politics. For Barthes, the attempt to deconstruct or escape from these binaries has profound ethical, philosophical, and linguistic implications. The Neutral is comprised of the prewritten texts from which Barthes lectured and centers around 23 "figures," also referred to as "traits" or "twinklings," that are possible embodiments of the Neutral (sleep, silence, tact, etc.) or of the anti-Neutral (anger, arrogance, conflict, etc.). His lectures draw on a diverse set of authors and intellectual traditions, including Lao-tzu, Tolstoy, German mysticism, classical philosophy, Rousseau, Baudelaire, Walter Benjamin, and John Cage. Barthes's idiosyncratic approach to his subjects gives the lectures a playful, personal, and even joyous quality that enhances his rich insights.In addition to his reflections on a variety of literary and scholarly works, Barthes's personal convictions and the events of his life shaped the course and content of the lectures. Most prominently, as Barthes admits, the recent death of his mother and the idea of mourning shape several of his lectures.

Plusieurs jeunes présentent des difficultés de lecture et d'écriture. Cela nuit à leurs apprentissages, à la poursuite de leurs études et à leur implication active dans la société. Les intervenants qui travaillemt auprès de ces jeunes doivent considérer une grande diversité de courants de pensée, ce qui complexifie la prise de décisions quant aux actions à entreprendre pour les aider.En établissant un pont entre les connaissances scientifiques contemporaines et l'expertise clinique, cet ouvrage est l'un des rares en langue française qui propose des pratiques fondées sur les données issues de la recherche en language écrit. Plus précisément, ce livre adopte une perspective langagière des difficultés de la lecture et de l'écriture et suggère une démarche clinique aux orthophonistes impliqués dans la prévention et l'évaluation des difficultés du langage écrit. Il s'agit d'une ressource indispensable à la formation et au perfectionnement des orthophonistes et des intervenants oeuvrant en langage écrit auprès de la petite enfance et des jeunes d'âge préscolaire et scolaire.

An exciting and highly original examination of the practices of truth-telling and speaking out freely (parr?sia) in ancient Greek tragedy and philosophy. Foucault discusses the difficult and changing practices of truth-telling in ancient democracies and tyrannies and offers a new perspective on the specific relationship of philosophy to politics.

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One of the foremost figurative artists working today, Lucian Freud has redefined portraiture and the nude through his unblinking scrutiny of the human form. And while most are familiar with Freud’s thickly impasted paintings, few realize how integral etching has become to his practice.Presenting an exceptional overview of Freud’s works on paper over his more than six-decade career, this oversized volume highlights the artist’s unconventional approach to the medium. Standing the copper etching plate upright on the easel, Freud treats the plate like a canvas as he depicts his sitters—very often friends, family members, or fellow artists—through meticulous networks of finely etched lines. Among Freud’s most notable trademarks is his tendency to dramatically crop figures and then isolate them against empty backgrounds, achieving through this juxtaposition a startling sense of psychological tension and formal abstraction.Freud is one of the most widely acclaimed British artists of our time and, with plentiful illustrations and an introduction by celebrated curator Norman Rosenthal, Lucian Freud: Portraits brings Freud’s lesser-known etchings deservedly to the forefront.

C'est à une réflexion de fond qu'invite Georges Corm dans ce livre, pour comprendre les logiques de guerre qui déchirent le Proche et le Moyen-Orient depuis la fin de la guerre froide. Des conflits le plus souvent justifiés par la thèse débilitante du " choc des civilisations " et de la lutte contre le terrorisme " transnational " islamiste. Popularisée dans le monde entier, cette thèse a imposé une vision binaire du monde qui n'en finit plus d'enfler, au point de fabriquer toujours plus de violence. Prolongeant les analyses historiques remarquablement documentées de ses livres précédents, Georges Corm donne ici les clés décisives pour comprendre les mécanismes ayant permis depuis les années 1990 de paralyser les oppositions aux guerres injustes et d'étouffer la pensée objective du réel et de ses complexités : la puissance des représentations médiatiques (et académiques) portées par l'imaginaire du " retour du religieux ", la manipulation de la mémoire et de l'histoire, l'instrumentalisation de prétendues valeurs politico-religieuses pour susciter des conflits, la relation perverse entre les intérêts géopolitiques de certains États et leur prétention à défendre dans l'ordre international des idéaux religieux, l'application sélective du droit international aux situations conflictuelles. D'où l'accent mis dans ce livre, à la fois très personnel et rigoureux, sur la nécessité d'une lecture profane des conflits face aux " fanatismes civilisationnels " et sur la problématique de la laïcité et de la liberté, dans sa version républicaine " à la française ".

Format Paperback French Subject Mathematics Publisher Berlin Springer Verlag c1986

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Foucault continues on the theme of his 1978 course by focusing on the study of liberal and neo-liberal forms of government and concentrating in particular on two forms of neo-liberalism: German post-war liberalism and the liberalism of the Chicago School.

Book is in NEW condition. 0.22

"I define the Neutral as that which outplays the paradigm, or rather I call Neutral everything that baffles paradigm." With these words, Roland Barthes describes a concept that profoundly shaped his work and was the subject of a landmark series of lectures delivered in 1978 at the Collège de France, just two years before his death. Not published in France until 2002, and appearing in English for the first time, these creative and engaging lectures deepen our understanding of Roland Barthes's intellectual itinerary and reveal his distinctive style as thinker and teacher. The Neutral (le neutre), as Barthes describes it, escapes or undoes the paradigmatic binary oppositions that structure and produce meaning in Western thought and discourse. These binaries are found in all aspects of human society ranging from language to sexuality to politics. For Barthes, the attempt to deconstruct or escape from these binaries has profound ethical, philosophical, and linguistic implications. The Neutral is comprised of the prewritten texts from which Barthes lectured and centers around 23 "figures," also referred to as "traits" or "twinklings," that are possible embodiments of the Neutral (sleep, silence, tact, etc.) or of the anti-Neutral (anger, arrogance, conflict, etc.). His lectures draw on a diverse set of authors and intellectual traditions, including Lao-tzu, Tolstoy, German mysticism, classical philosophy, Rousseau, Baudelaire, Walter Benjamin, and John Cage. Barthes's idiosyncratic approach to his subjects gives the lectures a playful, personal, and even joyous quality that enhances his rich insights.In addition to his reflections on a variety of literary and scholarly works, Barthes's personal convictions and the events of his life shaped the course and content of the lectures. Most prominently, as Barthes admits, the recent death of his mother and the idea of mourning shape several of his lectures.

Through close textual analysis of the scenes of reading in Proust's A la recherche du temps perdu, Adam Watt offers an invigorating new study of the novel and previously unacknowledged paths through it. After considering key childhood 'Primal Scenes' which mark the act of reading as revelatory and potentially traumatic, the book then identifies and examines the interwoven strands of the novel's narrative of reading: showing that scenes where the narrator reads and where others provide 'lessons in reading' are intricately connected within the narrator's ever unfolding considerations of intelligence, sense experience, knowledge, and desire. These acts of reading, often bewildering the narrator with their mix of illuminations, wrong turns and over-determinations, lead us to interrogate our own understanding of the act we accomplish as we read A la recherche. This book emphasizes the complexities and contradictions with which reading (always inescapably an engagement of both mind and body) is driven, and which connect it repeatedly to the experience of involuntary memory. Reading is shown to be frequently fraught with heady instability-'délire'-of a highly revealing sort, from which narrator and readers alike have much to learn. The book's final chapter shows how the narrator's critical energies, turned contemplatively inwards in the Guermantes' library, are subsequently turned outwards for a final interpretive effort-the reading of his now aged acquaintances at the 'Bal de têtes'-in a shift that provides the narrator not only the confidence to begin his work of art, but also the humility to face, undeterred, the approach of death.

Music Lessons marks the first publication in English of a groundbreaking group of writings by French composer Pierre Boulez, his yearly lectures prepared for the Collège de France between 1976 and 1995. The lectures presented here offer a sustained intellectual engagement with themes of creativity in music by a widely influential cultural figure, who has long been central to the conversation around contemporary music. In his essays Boulez explores, among other topics, the process through which a musical idea is realized in a full-fledged composition, the complementary roles of craft and inspiration, and the degree to which the memory of other musical works can influence and change the act of creation. Boulez also gives a penetrating account of problems in classical music that are still present today, such as the often crippling conservatism of established musical institutions. Woven into the discussion are stories of his own compositions and those of fellow composers whose work he championed, as both a critic and conductor: from Stravinsky to Stockhausen and Varèse, from Bartók to Berg, Debussy to Mahler and Wagner, and all the way back to Bach. Including a foreword by famed semiologist Jean-Jacques Nattiez, who was for years a close collaborator and friend of the composer, this edition is also enriched by an illuminating preface by Jonathan Goldman. With a masterful translation retaining Boulez’s fierce convictions, cutting opinions, and signature wit, Music Lessons will be an essential and entertaining volume.