Chardin et sonPhilosophe

Did “the old character, so intelligent, so crazy”, evoked by Marcel Proust through Chardin’s self-portraits, depict himself in the projective mask of the wise man, in one of his most famous paintings, thePhilosopher of the Louvre? As the master of the still life wanted to rise in the hierarchy of the Academic ranks, he probably tried, in this early work, to make up for “this lack of training” in “the humanities”, through the representation of a character in keeping with current tastes, of a modern philosopher. A Philosopher, A Chemist in his laboratory, A Glass-Blower, or A Philosopher busy reading: is the painting of the Louvre (1734) an emblem? Our hypothesis, that this painting represents a chemist philosopher, not a quack or an alchemist, is constructed by comparing the painting with the lampoon entitledThe Philosopher, circulated, according to Voltaire, in the 1730s.     

Scepticisme et politique

Scepticism is generally considered as leading to political conformity. But obedience to custom is not the only consequence of the separation between the private and the public spheres. The main result of this separation is to create an area of private life which is a space of freedom, away from the crowd and the authorities. It is thus easier to understand the sceptical stance in politics, advising the Prince secretly, while keeping out of the limelight. Above all, this helps us to appreciate the contribution of scepticism to modern conceptions of liberty in providing a social model for the free pursuit of truth.     

Agonisme et antagonisme

This essay considers dissensus as the starting point for the construction of a common epistemic space rather than as the acknowledgement of an irreducible disagreement. In the argumentative confrontation and disagreements, we do not want to identify a process which might lead to agreement through rational debate. The aim of this essay is rather to understand how dissensus leads to the constitution of plural communities. It discusses a certain number of texts of political philosophy (Habermas, Mouffe, etc.), where the notion of agreement is crucial to an analysis of argumentative confrontations. This essay uses the hypothesis to analyse the circulation of Leibniz’s dynamics in his correspondence with De Volder. This perspective shows eventually that dissensus is not an obstacle but the basis on which multiple circulations of theories are possible.     

Motifs Utilitaires et Autonomie Artistique la Forme Architecturale et Ses Fonctions

In the late 19^th century, authors writing on aesthetics often referred to architecture to justify establishing a new hierarchy between things beautiful and things useful, a change underwritten by the rising sociological and anthropological perspectives on art. Meanwhile, architects debated the origins and evolution of artistic styles from the earliest forms of art to the most advanced monumental art works, a debate that fundamentally transformed the relationship between artistic expression and material determinism.