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International audience ; The Marxian vision of art differs greatly from socialist realism and even from the neo- (if not post-)Marxist philosophy of critical theorists like Adorno and the Frankfurt School. Counter to the Biedermeier uprightness, Marx will give to the art a real social content. The artist's work is elevated to an ideal labor organization and opposed to the worker's alienation resulting from mechanization and the division of labor. If a society based on the model of artistic work remains a utopia, Marx seems to be seeking to renew the ancient model of the medieval craftsman. The latter is free, masters his trade, skills and techniques, and succeeds in his work as an artists. If this notion is very different from the idea based on the socialist realism, it meets, on the other hand, characteristics of the counterculture – as the refusal of the work as socially imposed – even if "Flower Children" and other agents of the counter-culture rarely recognize themselves in a Marxian vision of art. It is the case of Yves Véquaud, following on the heels of the counter-culture, while not assuming any clear political commitment. Inspired by a counter-bourgeois hippie Bohemia, he extols in his writings some heroïzed figure of painters, with neo-tantric elements, embodied in the bucolic communitarian Maithil village utopia, through which the Sehnsucht of lost paradise occurs. Would Véquaud, within his artistic vision, be a Marxian without being aware of it? However, his depiction of the bucolic Maithil village and its myriad of women-artists seems (incidentally?) be inspired by the Marxian utopia of a society based on the model of artistic work. The common feature between the counter-culture and the Marxian notion of art lies most certainly in the 'revolutionary and/or utopian romanticism' defined by Löwry & Sayre.

Quels rapports entretient la construction de soi avec autrui et l'univers ? Comment ces rapports peuvent-ils devenir violents, voire destructifs ? Alexander von Humboldt, en quête du lien entre tout ce qui existe dans l'univers et entre le monde intérieur et cet univers, a dénoncé les relations destructives avec autrui et la nature. Les auteurs du présent ouvrage poursuivent cette réflexion de Humboldt à nos jours. Ils vivent dans différents pays (Inde, Taiwan, Mexique, Brésil, Portugal, Allemagne, France... ), représentent diverses disciplines (archéologie, géographie, linguistique, littérature, mathématique, musicologie, philosophie, psychanalyse, nanotechnologie... ) et se nourrissent d'oeuvres variées (Darwin, Arago, Hebel, Goethe, Mendelssohn-Bartholdy, Adorno, Horkheimer, Minkowski, Poincaré, Freud, Deleuze... ). De perspectives apparemment très éloignées sur les plans géographique et théorique résulte une vision pleinement cosmopolite du soi et du cosmos. »Selfhood and the Cosmos from Alexander von Humboldt to the Present Day« What relationships contains the construction of oneself with others and the universe? How do these relationships become violent or even destructive? In search of the link between all that exists in the universe as well as between the inner world and the universe, Alexander von Humboldt denounced destructive relationships with others and nature. The authors of this book continue this reflection from Humboldt to the present day. Perspectives that are apparently very distant geographically and theoretically result in a fully cosmopolitan vision of selfhood and the cosmos. Quels rapports entretient la construction de soi avec autrui et l'univers? Comment ces rapports peuvent-ils devenir violents, voire destructifs? Alexander von Humboldt, en quête du lien entre tout ce qui existe dans l'univers et entre le monde intérieur et cet univers, a dénoncé les relations destructives avec autrui et la nature. Les auteurs du présent ouvrage poursuivent cette réflexion de Humboldt à nos jours. De perspectives apparemment très éloignées sur les plans géographique et théorique résulte une vision pleinement cosmopolite du soi et du cosmos. Soraya Nour Sckell est chercheuse de la FCT (Fondation pour la Science et la Technologie du Ministère portugais de l'Enseignement et de la Science) auprès du Centre de Philosophie de l'Université de Lisbonne. Elle est aussi directrice d'un programme de recherche sur le cosmopolitisme au Collège International de Philosophie de Paris et Vice-Présidente de l'Association Humboldt-France. Docteur en droit de l'Université de São Paulo (USP) et docteur en philosophie des Universités de Nanterre et de Francfort-sur-le-Main, ancienne boursière du DAAD et de la Fondation Alexander von Humboldt, elle a mené des recherches aussi aux Universités de Saint-Louis (SLU) et Berlin (HU) et a enseigné aux Universités de Munich (LMU), de Metz, de Lille et à l'Université Portucalense. Damien Ehrhardt est maître de conférences habilité à diriger des recherches à l'Université d'Évry-Val-d'Essonne. Ancien boursier du D.A.A.D. et de la Fondation Humboldt, il est président-fondateur de l'Association Humboldt-France. En tant que musicologue et spécialiste des études culturelles, il est l'auteur notamment de La variation chez Robert Schumann (1998), Les relations franco-allemandes et la musique à programme (2009), et (co)directeur de Franz Liszt : musique, médiation et interculturalité (2008) et Vers une musicologie de l'interprétation (2010). Il a, en outre, (co)organisé six collèges Humboldt interdisciplinaires, dont deux avec Soraya Nour Sckell, sur des thèmes aussi divers que les émotions, la fascination de la planète, l'unité dans la diversité ou l'incertitude.

Alexander von Humboldt aimed »to grasp the whole world«. He searched the unknown in order to explain that which was close but incomprehensible as a result of being seen in isolation from the network to which it belongs. All natural, cultural and social phenomena are interrelated and should be studied as a whole. Contrary to a hierarchical scientific methodology based on a first principle that supports the whole, Humboldt conceives a complex network in which every individual element is equally important, despite each having its own unique dimensions and logic. Humboldt's natural studies, classifications, and measurements, as well as his social, artistic, cultural, political and economic research, make up a theory of the cosmos that connects all of these different spheres. This book brings together researchers from several fields to reflect on the meaning of »the whole world«, not only in the context of Humboldt's legacy (Part I), but also in line with the thought of other political scientists before and after Humboldt (Part II) and from the perspective of culture and the arts (Part III). / Alexander von Humboldt aimed »to grasp the whole world«. He searched the unknown in order to explain that which was close but incomprehensible as a result of being seen in isolation from the network to which it belongs. All natural, cultural and social phenomena are interrelated and should be studied as a whole. Contrary to a hierarchical scientific methodology based on a first principle that supports the whole, Humboldt conceives a complex network in which every individual element is equally important, despite each having its own unique dimensions and logic. Humboldt's natural studies, classifications, and measurements, as well as his social, artistic, cultural, political and economic research, make up a theory of the cosmos that connects all of these different spheres. This book brings together researchers from several fields to reflect on the meaning of »the whole world«, not only in the context of Humboldt's legacy (Part I), but also in line with the thought of other political scientists before and after Humboldt (Part II) and from the perspective of culture and the arts (Part III).