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Par essence interdisciplinaire, l’histoire des idées construit des ponts entre des domaines qui, d’ordinaire, ne se rencontrent pas. Mais quelles relations l’histoire des idées entretient-elle exactement avec la critique littéraire et la philosophie ? Est-elle ce vers quoi nous devons nous tourner ou, au contraire, ce dont nous devons nous prémunir lorsque nous cherchons à comprendre les mutations intellectuelles collectives sur la longue durée ? Ce volume, qui réunit philosophes, spécialistes de littérature et historiens, aborde l’histoire des idées à travers ses écoles, ses œuvres et des figures atypiques telles que celles d’Étienne Gilson, Arthur O. Lovejoy, Hippolyte Taine, Anatole France, Isaiah Berlin, Paul Bénichou, Paul Hazard, Michel Foucault ou encore Martin Heidegger. Il brosse ainsi un portrait critique d’une discipline aux contours imprécis, qui a connu bien des variantes méthodologiques et soulevé bien des problèmes tout au long du xxe siècle et jusqu’à aujourd’hui.

Dans sa contribution, Claudine Tiercelin a dit que, pour Arthur O. Lovejoy, les idées ont de la force ; j’ajouterai qu’elles ont aussi de la vie. En effet, dans un passage de son livre The Revolt Against Dualism (1930), où il critique la tendance philosophique du xxe siècle à attaquer le dualisme cartésien du corps et de l’esprit, et donc à se révolter contre la pensée du xviie siècle, Lovejoy parle d’une disposition très forte chez l’être humain qui consiste à avoir une relation réelle et vi...

L’autre de l’œuvre littéraire peut signifier ce qui, tout en n’étant pas de la littérature, contribue à l’éclosion de la littérature. Dans la modernité, c’est souvent par un autre art, comme la peinture ou la musique, que la littérature trouve son identité, étrange phénomène qui participe à la fois de la richesse et du manque. D’un côté, il se produit quelque chose qui est de l’ordre de l’abondance et qu’on pourrait appeler : synesthésie des facultés de l’esprit, car un art est soi-même et, e...

L'identité d'une œuvre, à supposer qu'elle existe, ne peut se concevoir que par rapport à ce qui lui est autre : altérité de ce qui entoure l'œuvre, dans sa création comme dans sa réception, langues que celle-ci affronte, événements qui la suscitent, biographie qu'elle assume, liens qu'elle défait ou refait ; altérité qu'est le devenir de l'œuvre, avant elle comme après elle, moments de sa venue, temps de ses actualisations et de ses transformations ; altérité enfin qui habite l'œuvre, dans ses figures, dans son aspiration, dans son inépuisable actualité. Les études ici réunies, consacrées à la littérature, au cinéma, à l'opéra, à la traduction, à l'adaptation, explorent, dans un dialogue entre chercheurs européens et japonais, les formes de cet « Autre de l'œuvre ».

Ce volume interroge la notion de « récit minimal », aussi bien dans ses limites qualitatives que quantitatives. Qu'est ce qu’un récit a minima ? Peut-on déterminer un contenu minimal de la narrativité : au moins une action, un événement ? Quel statut donner aux récits à l’événementialité incomplète, aux récits où « il ne se passe rien », aux récits où les actions apparaissent sans intentionalité ? Est-il possible de représenter le non-événement ? Quelles différences entre récit minimal, récit minimaliste et écriture blanche ? L’originalité de ce recueil d’essais réside dans son ouverture à plusieurs supports narratifs : aux études narratologiques et littéraires, sur des auteurs tels que Régnier, Ramuz, Larbaud, Quignard, Michon, Macé ou Chevillard, s’ajoutent des analyses sur la présence du récit minimal dans la poésie et le théâtre, ainsi que dans la bande dessinée, le cinéma, les récits de presse et la publicité.

Music and film are both perceived in temporal sequence; there are peaks of emotion and also the accumulation of emotion during the performance's time (in concert-hall or theaters or home supports). Melancholia by Lars van Trier is presented as a wonderful example of the intimate relation between musical score and images. The eight minutes long beginning blends music, film and painting and sets off the melancholic mood of the whole film.

La nuit apparaît comme le lieu de la communication entre l’homme et la nature, mais les synesthésies déséquilibrées des Correspondances déforment ce que Jankélévitch appelle « les noces de la conscience et de la nature ». Parfois elle se conjugue au gouffre dans sa valeur positive et négative ; elle accompagne la douleur et le cauchemar. Les nocturnes de Baudelaire sont urbains et s’opposent aux paysages au clair de lune. Dans Le Peintre de la vie moderne la nuit a pour cadre la grande ville et la création artistique., The night comes out as a set of communication between man and nature, but the unstable connections of Correspondances deform what Jankélévitch calls “the wedding of the conscience and the nature”. It sometimes conjugates with the abyss in its positive and negative value; it accompanies the pain and the nightmare. Baudelaire’s nocturnes are urban and are opposed to landscapes by moonlight. In Le Peintre de la vie moderne the night is framed in the big city and in the artistic creation.

Succesfull literature offers rich descriptions of emotions. Hazlitt and Stendhal, like Robert Musil, produced important theories of emotions, while being careful about the difference between sentiment and sentimentalism. They believed in the cognitive value of the arts, and stressed the importance of comparison and thought experiments in the novel and in the essay as the way of conjecturing the possible.

Collections of articles on film and literature. Importance of the role of the spectator; film as essay: specific filmmakers (Vidor, Affleck, etc)

The filmic style of Quentin Tarantino is a dazzling example a postmodern aesthetics full of allusions to the western and spaghetti western genres, and to some TV series in the 1950's and 1960's. The popular culture in film, video, TV, and music of Tarantino is breath-taking, as the rhythm of action in his last movie, Django unchained (2012). Love, hatred, revenge, humor, cunning, cruelty, passions and blood, and stereotyped characters: spectators are bombarded with emotions that vanish quickly in this sparkling fiction telling the story of the slave Django two years before the Secession war in the USA.

Design techniques and moral and aesthetic values expressed by the painter, engraver and poet William Blake at the beginning of the 19th century

Survey of theories of emotions. Cognitivist approaches to affective phenomena from Stendhal and Hazlitt to Musil and contemporay theorist

This analysis of Pierre Schoeller's recent film emphasizes the role of emotions and feelings as they are expressed by the prtagonist, the fictional Minister of Public Transportation in France. This film shows that at the basis of political life in the obsessive media world of today there are human emotions. The rhythm of a thriller in this films avoids the most common stereotypes of political movies with their didactic aim.

Examination of the notion of fiction in the theoretical work and literary production of the psychoanalyst Michel de M'Uzan. Difference between perceptive empathy and mental conjectures.

The minimalist aesthetic of Gus Van Sant diplays a story eschewing the causal mode of narration that is typical of narratives. The simple events are organized according to the unity of time, place, and action, like in a classical tragedy: two young people get lost in a desert. The emotional memento builds up through extremely slow long shots lasting sometimes nine minutes: the thurst and fatigue of the two protagonist pervade the viewers, until one of the two kills the other in order to save him from a horrible death. Importance of the music by Arvo Part : his minimalist music increases the strong impact of these extremely reduced but powerful story.

Short presentation on the question of emotions in various disciplines and interview with Klaus Scherer

The famous Italian Architect Aldo Rossi (1931-1997) has been perceived as the champion of rationalist architecture; his rationalism is connected to the emotions, as some of his writing can easily prove. My reading insists on the interpenetration of reason and emotion.

This article analyses several shots by Van Sant in his film Paranoid Park focusing on the adolescent world portrait in the film and on the emotional impact on the spectaror's thanks to the use of longshots and of musical score.

An investigation on the separation between history and rhetoric in the 19th century. The formation of the new positivist conception of history as opposed to the ancient model of eloquence and to the philological model of accumulation of erudition without clear division between major causes and minor causes in historical narration

This introduction present the several essay of the book (written by specialists of Japonese culture and of Asian Studies) focusing on their attempt to investigate several modes of memory - from nostalgia of the past to the glorification of heroic enterpises in several works of writers and artist of Japon and China from the 19th century to the present.

William Hazlitt is presented for his understanding of emotions and of the role of literature and art as powerfully representing and expressing affective phenomena and as eliciting moral awareness into the readers and-or spectators minds.

Cet ouvrage et le colloque qu'il anticipe (Premier colloque international d'Architecture émotionnelle, Genève, janvier 2011) ont pour objet premier d'explorer et d'enrichir les relations entre architectes, spécialistes des émotions...

Exploring Textual Action questions how we analyse works of art after the performative turn and shows how the interplay of performativity (textual action), space and topography, and the converging of genres and art forms is essential in modern drama, theatre, prose fiction, poetry and film. The volume also fosters a keen concern for the development of congenial theory. Its 14 detailed essays analyse works of art ranging from Balzac, Melville and George Eliot, to Breton, Kafka, Benjamin, Blixen and Woolf; and from W.C. Williams, Bresson and Scorsese, to Sarraute, Duras, Reygadas, Dumont and Waltz. The approach of these studies discloses the art works as creative and dynamic utterances with active and shaping forces so powerful, and consequential, that they have the potential to transform human perception and blur clear distinctions between art and "real" life. Using an alternative and dynamic method and suggesting a direction towards the detailed analysis of literature, art, media and culture, Exploring Textual Action addresses current debates within the humanities.

An analysis of the choice of sober style in the historical research by H. Taine and in the narrative form of Flaubert.

This book is a collection of essays that examines some of the changes in the activities, role, function and self-perception of Italian intellectuals since World War II

This article suggests that, very often, the two faculties – memory and imagination, often separated in philosophical thought – are but one in the case of artistic creation. Readers or spectators are active with their memory, and therefore imaginative in their reception of the works of art: memory and imagination co-operate in the aesthetic effect. The chosen examples, in order to illustrate this co-operation, are two films, Gerry, by Gus Van Sant, in which one may observe an extraordinary use of the long take, and Dead Man by Jim Jarmusch, influenced by the aesthetic of photography. The relationship among different media is possible thanks to imaginative operations: from painting to literature, from music to poetry, from all the arts to cinema and from cinema to cinema.

These paperwork refers to the issue of reality in film and includes some remarks on the emotions expressed by the character or the situation in the chosen filmic examples as well as on the emotions provoked in the spectator. The awareness of speech acts can pave the way to our critical work today, and renew the study of literature or art: it can offer unexpected interpretations, “mistreating” – as Barthes would have said – a text. The perspective of performativity can help me in refining my interpretation of some well-known films and filmmakers. I will concentrate on two examples: Bresson and Scorsese.