Suchergebnisse

En este artículo se defiende la tesis de que la noción de vida, en la obra de Foucault, no es sólo el correlato de prácticas históricas de poder y saber. Foucault sostiene una ontología vitalista, intermitente y no del todo explícita. La fuente de esta opción filosófica en Foucault no es nietzscheana ni deleuziana, sino que coincide en muchos aspectos con el vitalismo no esencialista de Georges Canguilhem. En primer lugar comparamos la relación de Canguilhem y de Foucault con la tradición kantiana, en su vertiente crítica y trascendental. En segundo lugar, comparamos la noción de vida en las propuestas filosóficas de Canguilhem y Foucault. Por último analizamos la procedencia canguilhemiana del concepto foucaultiano de normalización. Esta filiación se advierte también en el concepto de biopolítica, referido a un poder que actúa sobre la vida, imitando su funcionamiento. Este arraigo del pensamiento de Foucault en el vitalismo de su maestro permite resolver dos tensiones internas en la trayectoria del primero: la justificación de los movimientos de revuelta y el carácter autoformativo de la subjetividad. ; In this paper we defend the thesis that the notion of life, in Foucault's work, is not only the historical correlate of power and knowledge practices. Foucault argues a Vitalist ontological position, however intermittent and not at all explicit. The source of this philosophical choice in Foucault is not Nietzsche or Deleuze, but it coincides in many respects with the non-essentialist Vitalism of Georges Canguilhem. First, we compare Canguilhem and Foucault's relation to the Kantian tradition, in its critical and transcendental aspects. Secondly, we confront the notion of life on the philosophical proposals of Canguilhem and Foucault. Finally we analyze the canguilhemian origin of the normalization foucauldian concept. This affiliation also regards the concept of biopolitics, referred to a power that acts on life, imitating its operation. This rooting of the thought of Foucault in the Vitalism of his master resolves two internal tensions in the path of the first: the justification of movements of revolt and self-formative character of subjectivity.

On May 27, 2013 at 11:30 pm bulldozers drove into Gezi, a central park in Taksim, Istanbul, to uproot five trees in preparation for future construction. Plans for the redevelopment had been announced two years before by the Prime Minister, Recep Tayyip Erdogan, and in response, two local activist groups had been formed: 'Taksim Solidarity' and the 'Society for the Preservation and Beautification of Gezi Park'. Founded to to publicise the historical status of the park and protect what remains a symbolically important site - and one of the few recreation areas in the central area of Istanbul - members of these groups were amongst the first to protest as the bulldozers rolled in. Within hours, a group of twenty to thirty activists had begun a sit-in. In the coming days, as the number of demonstrators increased to hundreds, the 'resistance' spread to other neighbourhoods in Istanbul. It also manifest itself in other cities across the country. The small scale sit-in that commenced in the night of May 27th had become a catalyst for a nationwide movement with global repercussions. It subsequently became known, interchangeably, as the Gezi movement, the Gezi resistance and Gezi events. The space of the protests was no longer bounded by Gezi Park itself, and the movement was no longer limited to a specific and local planning agenda. Taking criticism of the renovation plans for Taksim as their starting point, the protesters also raised their voices against what they considered the authoritarian policies of the the conservative government and, more specifically, the social pronouncements of the Prime Minister. The governmental response was violent police intervention. Within a month, five protesters and one policeman had died, hundreds of others were injured, and many protestors were arrested across the country. In the midst of what the government defined as anarchy and subversive acts, multiple social and cultural assumptions were overturned and, in Deleuze and Guattari's terms, events and behaviours were deterritiorialized. Transient actions in established spaces smoothed the striated spaces of government planning and, equally significantly, a radical and momentary reconceptualisation of gendered roles and spaces was established.

At the beginning of W. G. Sebald's The Rings of Saturn, the narrator sets off to walk the county of Suffolk to try and shake off the sense of emptiness he experiences whenever he finishes a long piece of work. However, far from effecting the kind of reconnection associated with the Thoreauvian saunterer or the walkers of narrative scholarship, this journey leaves him prey to a "paralysing horror" which assails him "when confronted with the traces of destruction, reaching far back into the past, that were evident even in that remote place". Nowhere are these 'traces of destruction' more apparent than on the almost-island of Orford Ness, where the post-apocalyptic landscape and the contraptions of the abandoned military base induce in him the fantasy that he is present long after the extinction of our civilization. This essay explores the dissonant affective implications of these all-too-human traces of destruction, drawing on concepts such as 'thing-power' (Bennett), 'assemblages' (Deleuze and Guattari), and the generative interplay of 'actants' (Latour), suggesting that while the material turn in ecocriticism has contributed valuable theoretical tools to the posthumanist project of decentring the human, its emphasis on our material imbrication in the life of the planet, with its myriad agencies and forms of signification, has at times deflected attention too far from the specificity of the human and the ongoing impact of our unique forms of 'technicity,' both on the landscape and on our own consciousness. It suggests the need for a tentative ongoing humanism within the posthumanist project, albeit from a decentred and position of reduced authority, that focuses on the unrelenting interrogation of the specificities of the human animal. ; Al comienzo de The Rings of Saturn de W. G. Sebald, el narrador emprende un viaje por el condado de Suffolk para intentar librarse del sentido de vacío que experimenta siempre que termina un trabajo extenso. Sin embargo, lejos de tener el efecto de reconexión que se asocia con el ...

AbstractAnd the Lord God made them all. I went to Sunday school and like lots of other kids (though far from all) came to an age at which I simply stopped going. Nothing conscious about it, I don't think, it's just those sets of spaces stopped becoming; stopped like nothing physical can stop, like a car crashing into a wall and instead of rebounding being merely consumed in whole. I (re)member, in my naive teens (when is this? I do not know. Perhaps the time of the Iraq war, but maybe this was a different car journey) I once came out with the statement (which was not particularly naive especially) "I think God exists, how did we all get here otherwise". Me, my sister that is two years older than me, my mum and dad, were on the road from Auchmuir Bridge towards Stirling around Loch Leven, the loch in Fife, Scotland, on which Mary Queen of Scots was held on an island. I have an image of a memory of going there as well. It is thus, however, that I (re)member the initiation into a different vision of the universe and everything. Yet it is a state clearly pleated bewilderingly. As an event it exists in what Deleuze and Guattari term a "rhizome, a burrow", with "flights of escape" which have no beginnings or ends, mere initialities and finalities. This is strange. It is not a polemic, nor does it have an explicit argument, except perhaps to ask the question that always dances on a pinhead – as Bohumil Hrabal once put it, "Pirouettes on a Postage Stamp" – is there any escape? I think I sang "All Things Bright and Beautiful" at my Gran's funeral, but it might have been something else. We stopped in the house of the priest and watched England lose the Cricket World Cup in 1999; they played in blue. That's how I (re)member the year of my Gran's funeral. The church I used to go to burned down. Arson, I think.

Instituto de Investigaciones Filosóficas. Facultad de Filosofía. Programa Institucional de Maestría en Filosofía de la Cultura ; This research is a study and consideration about the most outstanding critics mechanisms of "Canciones del segundo piso"'s poetics, from Swedish filmmaker Roy Andersson. We bring forward possible paths of poetics analysis of this movie in two ways. 1) By immersing ourselves into the debate about cinema's ontology from the filmic point of view as a "gesture" that displays and tells a story, proposed by the philosopher Girogio Agamben when making reference to Deleuze's "movement image"; and its implications of conceiving cinema from its political power. 2) Making an analysis of the central critic mechanisms of the movie's poetics - the creation of distance, the estrangement, the gag, the social gestus, the stylization, the deep focus, and the opened end -, mechanisms that mostly come from a Brechtian legacy and proposed here as a sociocultural complaint that facts with the concepts of "bare life" and "form-of-life" from Agamben". We postulate that "songs of second floor" 's gestures, resist in their representation as the Agamberian thought resists against the ways of life of the late modernity capitalization crisis, and makes it possible, as a gesture, to bring cinema to a level where it is a mean of culture criticism. ; Esta investigación es un estudio y reflexión sobre los dispositivos críticos más sobresalientes de la poética de Canciones del segundo piso, del cineasta sueco Roy Andersson. Presentamos rutas posibles de análisis a la poética de esta película en dos sentidos. 1) Insertándonos en el debate de la ontología del cine a partir de la visión de lo fílmico como "gesto" que muestra y narra, propuesto por el filósofo Giorgio Agamben al retomar la imagen-movimiento de G. Deleuze; y sus implicaciones en concebir al cine desde su potencia política. 2) Realizando un análisis de los dispositivos críticos centrales de la poética de la película - el distanciamiento, el extrañamiento, el ...

This dissertation explores how creative collaborative practice transforms subjectivity, before it is leveraged as an industrial resource. Raising key questions about the nature of collaborative practice itself, I discuss in detail the histories and processes of select collaborative groups in order to unfold an idea of intensity among participants that exceeds the boundaries of each artist without eradicating individuality. I argue that from the commingled exchange occurring in a material and discursive mash-up called "the mangle," emergent onto-epistemologies arise that disrupt static physical and identity formations. From this disruption, the ways in which language or sense-making functions are transformed and begin to include alternative ways of knowing that occur in bafflement, the inability to comprehend, and dysfunction. I work rigorously to transform the chaotic status of these negative terms into something that can be understood as lively, creative, and transformative in their own right and not merely opposites of order, understanding, clarity, and sanity. Overall, the project is highly trans-disciplinary in that I analyze art works and art practices, films, musical performances, composition techniques, and my own long-term creative collaborative work with a group called Multipoint. Further, in a very focused effort to transgress disciplinary boundaries, I place Material Feminism and post-Marxist theory alongside the philosophical works of Deleuze, Wittgenstein, Agamben, and Derrida. Divided into five chapters, the project addresses different aspects of intricate sharing and mangled time. The preface and the first chapter introduce the concept of trans-subjectivity and outline a chaotic, intense description of collaborative practice as I conceive it for this project, tracing a myopic history from the 1950s to the present to consider various forms of collaboration and their effects. The second chapter imagines networked, complex bodies in the video works of Natalie Bookchin and in installation art generally. The third considers the way language becomes complicated and remade through forms of virtuosity and incomprehensibility, while the fourth develops a theory of a-productivity involving lingering in conditions of highly queered time. The last chapter reads Giorgio Agamben's "whatever being" through Derrida's concept of impossible hospitality to envision the potentials for emergent forms of community.

In my thesis I have discussed whether Irish Travellers could be considered to be Nomads in a way that French theorists Gilles Deleuze and Felix Guattari have developed the concept. Nomads in this context challenge and object the normative order set by the state and the mainstream society. My research is constructed around the concept of ethnicity and namely what Irish Travellers hope to gain with the ethnic status and how this relates to the ways how Travellers are controlled by the state. As a primary material I have used a report made by a Traveller support group which discusses the challenges which Irish Travellers are facing in today's Ireland and as a method I have used critical discourse analysis. In my thesis I have discussed how physical nomadism plays a key role constructing Traveller identity and how physical nomadism relates to Deleuze's and Guattari's ideas about Nomadism. According to my findings Irish Travellers have a strong desire to be accepted by the mainstream society and to have an access to the resources controlled by the state. Irish Travellers want to be a part of the mainstream society hence keeping their own culture and be a part of the political process of the state. In the main chapters of my thesis I employ also other Deleuzian and Guattarian concepts like Faciality, Minority and Becoming in order to outline Travellers' relationship to Nomadism. The conclusion in my thesis is that Irish Travellers cannot be considered Deleuzian and Guattarian Nomads. I have based this argument on my findings that according to my primary material Travellers have a strong desire to be included to the structures of the state and be respected by the main society. These require that Irish Travellers follow the rules set by the state and the mainstream society. There is however a possibility for Travellers to change the system in the context of becoming; by challenging the normative order by entering the state structures and the mainstream society.

Pictures and images play a central role in contemporary society. Not only do they mediate meaning in a seemingly universal language (Fromm 1981), but their relevance for the construction of perception and beliefs cannot be underestimated. In global, political and religious discourses, controversies often revolve around images. The influence visuality has on the forming of ideas has already been discussed in the 1930s (Freud 1932). Today, even neurobiologists acknowledge the influential power of mental images (Hüther 2004). But, despite the well acknowledged impact the Pictorial Turn has had up to date, discourse analyses are typically carried out solely on linguistic material. Nevertheless, even in the Foucauldian sense the term "discourse" relates to epistemes and power not only conveyed by language, but also by pictures and images, in "a mushy mixture of the articulable and the visible" (Deleuze 2006). Nonetheless, the specific characteristics of pictures and images render analysis ever more difficult. Visual representations are a case sui generis. They cannot be transcribed into language completely. Research on visual artifacts can be put to work as a disclosure of how symbolic orders and the accordant identities are constructed. Something present, a picture or an image, is analyzed with regard to its ideological implications, as studies related to Cultural Studies usually do. Yet, beyond the visible picture, if representation is the making-present of something that's absent (Pitkin 1967), what respectively who is being made absent by the presence of the visible? The ambiguity of representation as "standing for" versus "depiction of" might at the same time enable a critical approach in the analysis of visual discourse. In this article, I attempt to conceptualize a methodological approach for conducting discourse analyses on visual material. For this purpose, I will introduce a dialectical notion of representativeness as imagery that draws on Gayatri C. Spivak's critique and Hannah Fenichel Pitkin's Political Theory of representation, as well as on Siegfried Kracauer's deliberations on film. Finally, I am going to give an example for putting this approach into research practice.

Rapport intermédiaire de la recherche « Rat des champs, rat des villes ». Quand le rural refonde l'urbain : une comparaison franco-suisse. Ce rapport interroge l'émergence de l'agriculture comme nouvelle figure de ce que B. Secchi a appelé le « récit d'urbanisme ». Après avoir rappelé les rapports toujours-déjà controversés de l'urbain au rural, les auteurs s'intéressent à la manière dont différents acteurs mobilisent la nature et l'agriculture pour mettre en récit l'espace urbain, raconter la ville à venir — celle qui devrait voir le jour pour satisfaire à la doxa du développement urbain durable — et produire du consensus dans la production du territoire. L'analyse d'une controverse d'aménagement, celle relative au déclassement d'une parcelle de 58 hectares de zone agricole dans le canton de Genève (Suisse) pour construire 3000 logements ainsi que divers équipements collectifs, permet d'accomplir une généalogie de ce nouveau discours urbanistique. Pour ce faire, quatre types de sources sont mobilisés : des entretiens semi-directifs ; des documents d'urbanisme ; le matériau récolté lors d'une observation participante non déclarée ; la documentation produite à l'occasion de la campagne référendaire liée au déclasse- ment de la parcelle en question ainsi que les commentaires produits sur les différents forums élec- troniques ouverts à cette occasion. L'analyse permet de dégager trois temps, qui sont trois figures du récit d'urbanisme : la genèse du plan directeur comme épopée d'un territoire (histoire des plans directeurs genevois); le plan de quartier comme roman (observation d'un collectif au travail pour produire un plan d'aménagement approprié à un site et à un programme); les contre-récits d'une controverse (le développement d'une campagne référendaire). La prosopopée du développement urbain durable apparaît ainsi comme une production éminemment intertextuelle et rhizomique – au sens de G. Deleuze et F. Guattari –, inscrite dans un mode de citation des différents produits de cette machine à produire des connaissances qu'est la pratique urbanistique. Au final, l'analyse au long cours proposée ici permet de réfléchir à la nature de cette activité supposément technique et politique qu'est l'urbanisme. Il se pourrait en effet que faire la ville consiste tout naturellement à faire des histoires.

Pictures and images play a central role in contemporary society. Not only do they mediate meaning in a seemingly universal language (Fromm 1981), but their relevance for the construction of perception and beliefs cannot be underestimated. In global, political and religious discourses, controversies often revolve around images. The influence visuality has on the forming of ideas has already been discussed in the 1930s (Freud 1932). Today, even neurobiologists acknowledge the influential power of mental images (Hüther 2004). But, despite the well acknowledged impact the Pictorial Turn has had up to date, discourse analyses are typically carried out solely on linguistic material. Nevertheless, even in the Foucauldian sense the term "discourse" relates to epistemes and power not only conveyed by language, but also by pictures and images, in "a mushy mixture of the articulable and the visible" (Deleuze 2006). Nonetheless, the specific characteristics of pictures and images render analysis ever more difficult. Visual representations are a case sui generis. They cannot be transcribed into language completely. Research on visual artifacts can be put to work as a disclosure of how symbolic orders and the accordant identities are constructed. Something present, a picture or an image, is analyzed with regard to its ideological implications, as studies related to Cultural Studies usually do. Yet, beyond the visible picture, if representation is the making-present of something that's absent (Pitkin 1967), what respectively who is being made absent by the presence of the visible? The ambiguity of representation as "standing for" versus "depiction of" might at the same time enable a critical approach in the analysis of visual discourse. In this article, I attempt to conceptualize a methodological approach for conducting discourse analyses on visual material. For this purpose, I will introduce a dialectical notion of representativeness as imagery that draws on Gayatri C. Spivak's critique and Hannah Fenichel Pitkin's Political Theory of representation, as well as on Siegfried Kracauer's deliberations on film. Finally, I am going to give an example for putting this approach into research practice.

This text reads into the work of Ibrahim Nubani (1962—), a Palestinian-Israeli painter who was diagnosed with schizophrenia in 1988, during the first Intifada. Nubani's painting has undergone a tremendous change from the 1980s and the period of his hospitalization to his painting style today: from geometric, Modernist-type painting, gradually moving into his contemporary chaotic and saturated style of expression. I draw parallels between Nubani's personal and psychological condition and the political events that affected him. I refer to his state in relation to the discourse of mimicry and camouflage in nature, comparing his position to that of the invisible presences in the background in a perfect camouflage, referring to Roger Caillois' interpretations. I look at his diagnosed psychiatric state of schizophrenia as the materialization of the meaning of being a Palestinian-Israeli in a life of fragmentation and rejection, by referring to Bhabha and Shammas. I relate to Deleuze and Guattari's notions of schizophrenia as a cultural rebellion against the moderating mechanisms of cultural/national identification. I demonstrate how Nubani's work and speech undermine the modalities of mainstream Israeli society, acting like a cultural insurgent, terrorizing Zionist axioms. While analysing Nubani's iconography I identify several tropes, images and icons that serve as signifiers of his personal crisis and artistic development. I link Nubani's eyes/ocelli images to Lacan's discussion of 'symbolic castration' as the core of his personal becoming part of Israeli society and his collapse, the in-between desire to assimilate in the early stages of his life, and his current desire to fully live his life as a Palestinian. The text moves between his images and images from other sources that open Nubani's world into the discourses of Western painting, schizophrenia, high Modernism, the postcolonial condition and so forth. The text is fragmented into eight pieces, following the schizophrenic break-up of Nubani's personal state and his painted work. I read his work as a destabilizing agent, and identify visual references drawn from the wider context of art history, and specifically referring to masterpieces of the Israeli art canon.

En 1964, Deleuze évoque Sartre comme un de « nos maîtres », un de « ceux qui savent inventer une technique artistique et littéraire et trouver les façons de penser correspondant à notre modernité, c'est-à-dire à nos difficultés comme à nos enthousiasmes diffus. » (Arts) Sartre est sans cesse aux points de passage de la modernité politique et esthétique. L'enfance d'un chef, la dernière et la plus longue des cinq nouvelles qui composent le recueil intitulé Le mur, paru en janvier 1939, participe de cette actualité. Véritable petit roman dans l'oeuvre à construire du philosophe écrivain, cette parodie cruelle du roman d'apprentissage saisit, par des exemples fictionnels et existentiels, l'analyse conceptuelle des essences. Dans ce récit, contemporain de La Nausée par sa chronologie et par les thèmes qu'il aborde, brille une écriture violente et individualiste, faite de cassures et d'abandons : L'enfance d'un chef s'insère dans un mouvement spéculatif, conteste l'ordre de la représentation anthropologique ou politique. A partir de Lucien Fleurier et du vide brumeux de son existence, Sartre dessine une subjectivité ouverte, une figure inhumaine de l'anti-héros : le « salaud », le « chef » et l'« antisémite ». Par une description phénoménologique rigoureuse, le philosophe précise le réseau de métaphores et d'images qui parcourt L'enfance d'un chef et constitue une poétique du bleu, entre Walter Benjamin – « Rêver de la fleur bleue, ce n'est plus de saison » (Neue Rundschau, n°38, janvier 1927) - et Roland Barthes – « Le bleu est à la mode cette année » (Revue française de sociologie, n°2, avril 1960) -. Le malconfort du personnage principal ne peut pas se concevoir en termes de noir et de blanc, d'ombre et de lumière : sa difficulté d'être se décline plutôt en gris bleu et en teinte violette, sur le mode de l'inauthenticité, rappelant les obsessions sartriennes du non-être et de la viscosité. Sans effacer l'aspect novateur et la puissance du dépaysement de L'enfance d'un chef, il s'agit de montrer que cette nouvelle ne se réduit pas à une intention théorique, mais constitue un projet en soi qui fait « naître une philosophie sous nos yeux. » (Michel Tournier, Le Vent paraclet, 1977, p. 155)

Šī pētījuma objekts ir neinstitucionālās un nedisciplinārās politiskās stratēģijas: 'dari pats' kultūras piemērs. Darba gaitā tika veikta kontekstuāla un konceptuāla teorētiskā ietvara radīšana, neinstitucionālo un nedisciplināro politisko stratēģiju pētīšanai. Darbs tika veikts atbilstoši izvirzītajiem uzdevumiem: Pirmkārt, izmantojot Haosa/kompleksitātes un postmodernisma teorijas konceptualizēt nelineāru dinamisku sistēmu uzvedības principus ar uzsvaru uz sociālajām pārmaiņām, pie reizes izvirzot jautājumu par paradigmu, kuras ietvaros šis darbs tiek veikts; Otrkārt, izmantojot Delēza un Gvatari konceptuālo filozofiju rast noderīgus konceptus, lai kompleksu sociālo sistēmu kontekstā iezīmētu nedisciplinārās un neinstitucionālās politikas būtību; Treškārt, pārskatot Alberto Meluči jauno sociālo kustību teoriju, iezīmēt neinstitucionālās un nedisciplinārās politikas un sociālo pārmaiņu aģentus; Ceturtkārt, izmantojot 'dari-pats' kultūras prakses, ar praktiskiem piemēriem papildināt veidoto teorētisko ietvaru neinstitucionālo un nedisciplināro politisko stratēģiju būtības izpratnei. Pētījuma metodes bija līdzdalības novērojums, datu analīze un noderīgu teorētisko konceptu meklēšana. Pētījuma pamatjēdzieni: haoss, nelineāra sociālā dinamika, bēgšanas līnijas, rīzoma, abstraktās mašīnas, molaritāte un molekularitāte, nedisciplinārā politika, jaunās sociālās kustības. ; Subject of this research is noninstitutional and nondisciplinary political strategies: example of do-it-yourself cultures. The creation of contextual un conceptual theoretical framework for research of noninstitutional and nondisciplinary political strategies in complex societies was carried out, following goals set at the beginning of this research: firstly, using chaos/complexity and postmodernist theories, to conceptualize principles of non-linear dynamic systems with emphasis on social change, while at the same time putting forward question about paradigm of this research; secondly, using conceptual philosophy of Deleuze and Guattari, to find useful concepts to conceptualize noninstitutional and nondisciplinary politics, in context of complex social systems; thirdly, to reveal agents of noninstitutional and nondisciplinary politics and social change; fourthly, to supply created theoretical frame with examples form DIY culture's praxis. Research methods involved participant observation, data analysis and search of useful theoretical concepts. The research was carried out in the context of theoretical concepts of chaos, nonlinear social dynamics, lines of flight, rhizome, abstract machines, molarity and molecularity, nondisciplinary politics, new social movements.

In the last decade or more, the central texts of structural theorizing – Hegel, Marx, Durkheim, Weber – have become part of a seemingly outdated problematic of class, history and society, and this has led to the erosion of some of the most central concepts of sociological theory. Terms such as the 'social' and the 'structural' no longer seem able to identify materially existing collectivities, their mode of existence or their specific system of social relations. The central objective of this article is to examine some of the claims put forward by postmodern theorists (Baudrillard, 1983; Deleuze, 1979; Rose, 1996) concerning the rise of new spatializations and the era of the 'post-social' by a return to the inaugural texts of Émile Durkheim (1938, 1951, 1964, 1968). My purpose is to see whether or not Durkheim broke with the language of totality that is often ascribed to him by postmodern theorists and to assess to what extent the claims of poststructuralist theorizing are based both on a misreading of the textsof structural theory (Marx, Durkheim, Weber, etc.) and on a historical tendency to disavow the social. It is argued that the conception of the social put forward by 19th-century social theorizing has not been well understood nor readily accepted either as an independent domain of treatment or as a subject matter differentiated from other subject matters. The reception texts of the Chicago school of sociology in the 1920s (Park and Burgess, 1921) and of the Harvard theoryschool of the 1930s (Parsons, 1968; Sorokin, 1928) are examined in order to discern whether these schools accepted the social as an object of theoretical attention or whether they in fact excluded it from the disciplinary matrix as they formed their own theoretical frameworks. Some textual evidence is drawn upon to support the thesis that the social became an object of theoretic disavowal during the time when Durkheim's fundamental sociological writings were being received in America.

This article is taken from a talk given at the symposium "Manières de critiquer", organized by Francis Marcoin and Fabrice Thumerel at Université d'Artois. A portion of it is dedicated to criticism in journals. Following a general introduction concerning the titles of journals, the article goes over the history of the title Critique (initially called Critica, then changed to Critique under the pressure of the editor) and measures its originality by the frequency of the noun and adjective " critique " in the titles and subtitles of works and periodicals found in the catalog of the Bibliothèque Nationale at the time the journal was founded. The second part of the article considers the title from the angle of how it functions, in its relation to the sub-title, revue générale des publications françaises et étrangères, and as it appears in the editorial of the first issue of the journal. This section specifies that the choice of Critique had the effect of creating certain limitations and exclusions, in the political realm in particular, but also in terms of the literary production of the times (to the extent that it excluded the publication of "bonnes feuilles" -- extracts of unpublished novels). The last part of the article shows how, over the years, the title's " semantic load " was led to grow and divide up a bit differently: first under the influence of Bataille and Blanchot, the first great critics of Critique, then, in reference to the Nouveau Roman and the Nouvelle Critique, whose proponents appear in the journal more or less simultaneously, and lastly by a kind of return to the etymology ("critique" contains the notion of " crisis ") in the sixties and seventies, with names like Michel Foucault, Jacques Derrida, Michel Serres, Gilles Deleuze and Félix Guattari, etc appearing in the journal. In conclusion, the author cites a phrase by Jean Paulhan which, outside of its context, can apply to the journal Critique : "Critique is another name for attention". ; Cet article constitue le texte d'une intervention ...