Leibniz, Wolff et la Métaphysique Traitée Selon la Méthode Scientifique

Wolff’s philosophy is often defined by commentators as « dogmatic leibnizism ». However, if we try to read the expression in a positive light, we discover what exactly distinguishes Wolff’s metaphysics from that of Leibniz, thereby establishing Wolff’s real contribution to the history of thought. First of all, the notion of « dogma » presented in Wolff’s philosophy is analyzed. This notion recalls the demonstrative model provided by mathematics and especially, Euclid’s Elements. According to axiomatic patterns, ontology is thought of as the « first philosophy ». This aspect cannot be separated from the function of a posteriori knowledge in Wolff’s thinking. This permits us to comprehend the function of ontology, Wolff’s cosmology, and his invention of the notion of « teleology ».     

L’impossible constitution d’une théorie générale des machines ?

Three projects on the theories of machines are presented: “mecanology” of the architect Jacques Laffite (1932) inspired by biological evolution; “mecanical analysis ” of Louis Couffignal, a specialist in computing machines (1938), which pre figures functional analysis, and the algebraic theory of machines by the mathematician Jacques Riguet (beginning of the 1950’s). During those years, the three men are members of the Circle of Cybernetic Studies. The article focuses on the dialogue between projects, the axes of unification and divergence, and the styles, strategies and postulates of these three candidates, for generalization converging toward the reference constituted by cybernetics.     

La Fabrique de l’infini Phénoménologie du désordre et genèse sensible de l’idée d’infini chez Diderot

Against the classical point of view, for which the idea of the infinite is the expression of God’s in the human being, Diderot proposes a concept of the infinite that considers it as an immediate production of the body. Removing the infinite from its former divine origin, Diderot’s idea of the sentient body contests the classical concepts, particularly the one of order, which bound epistemology to theology. Thus, disorder acquires a new value, even in its pathological forms, which now can be considered as modes of an immanent and fundamentally creative process.     

Fédération et/ou confédération

A concern to pin ideological labels on Morris has obscured the continuing importance of romanticism and Protestantism for his socialist politics. Romanticism led him to seek self-realisation in an art based on naturalness and harmony, and Protestantism led him to do so in the everyday worlds of work and domestic life. From Ruskin, he took a sociology linking the quality of art to the extent of such self-realisation in daily life. Even after he turned to Marxism, he still defined his socialist vision in terms of good art produced and enjoyed within daily life. Moreover, his over-riding concern to promote a new spirit of art, not his dislike of Hyndman, led him to a purist politics, that is, to look with suspicion on almost all forms of political action.     

Le rire et le théâtre dans la Lettre à M. d’Alembert

Often interpreted as a field of contradictions and fragmentation, the work of Jean-Jacques Rousseau presents an inner unity. This inner unity, though, is structured around regulated contradictions. I will examine here the distribution of those regulated contradictions by focusing on the preface to the Lettre à M. d’Alembert sur les spectacles and the relations between the Lettre and the Essai sur l’origine des langues. What Rousseau rejects as agents of corruption—theater and laughter—constitute at the same time the principles of his argument. The values of representation and technique implied by theater and laughter come to compose with those of presence and nature. Taking as a point of departure the work of Jacques Derrida on Rousseau, but also engaging it polemically, I will show in the analysis of the preface to the Lettre the distribution of regulated contradictions as well as the essential difference between language and theater in Rousseau throughout his reflection on the origin of theater and language.     

La typologie des nations et l’Espagnol mélancolique: Notes pour l’interprétation d’un cliché

Included in the traditional typology of nations, the image of the melancholy Spaniard is a cultural stereotype which appears with a remarkable continuity since the Spanish Golden Age. Developed by foreigners--particularly by the French--this stereotype is also adopted by the Spaniards themselves. It is then necessary to inquire about the persistance of this stereotype through-out the centuries and to examine how--and why--the Spaniards did adhere to the image given by foreigners and the typology of nations. The examination of this stereotype aims at analyzing its mechanism, at discovering its representations--sometimes very different--and the implications involved. The image of the melancholy Spaniard is deeply subjective representation which engages a complex work of the imagination: it concerns the representation of the other and the consciousness that every nation has of itself, revealing many elements about the one who produces it.     

Aspects de la Fatigue Dans L’anthropologie Médiévale

Psychosomatic sympton of the sinful human soul, progress of natural and progressive wear of the psychic or corporeal machinery, exclusive property of the world of bodies or place of the obligatory link between the intellect and the body, fatigue crosses the philosophical and theological medieval literature. The various treatments of fatigue can, in their turn, serve as symptoms to differentiate the medieval anthropologies. This article presents four of their figures: the anthropology of danger elaborated by Augustin, greek and arabe medical diagnosis which is passed on the ^{xi th} century, and the readings of Aristotle’s psychology by Albert the Great and Thomas Aquinas in the xiii ^th century.     

Les «yeux d’Argos» et les «étoiles d’Astrée» pour mesurer l’univers les jésuites italiens et la science nouvelle

As what happened for thenova in 1604 and for the three comets which appeared in 1618 starting the debate between Galileo and the Jesuits of the Roman College, even the comet of 1644 enhanced the curiosity and expectations in astrometers’ and astrologers’ minds. This work focuses on some aspects of the European debate, by fixing our attention on the Bolognese observatory school of Santa-Lucia in particular, where Giovan Battista Riccioli and his socios had started an experimental activity which was known and appreciated for its accuracy all over Europe. It also closely examines the revaluation of the «medium sciences», such as geography and hydrometry, to point out the sociocultural conditions that originated the growth of new professional characters like engineers and technicians in Bologna.