Vladimir Jankélévitch

Phenomenology is often criticized as a philosophy that mistakenly privileges consciousness and subjectivity.  If phenomenology presupposes subjectivity, then it must be either supplemented or supplanted by a more comprehensive ontology.  In this paper, I argue that such a bifurcation of phenomenological and ontological methods is itself ultimately premised on a kind of mind-body dualism, or the idea that consciousness is a world constituting activity.  By drawing on Merleau-Ponty’s 1954-5 lectures on Institution and Passivity, recently translated into English by Leonard Lawlor and Heath Massey, I develop the resources to explain how consciousness is not a meaning-constituting activity but rather an instituting-instituted synthesis, that is, the expressive inheritance and transformation of different developmental institutions of meaning.    The paper proceeds by introducing the phenomenological method, dealing with three antinomies that the idea of constitution cannot resolve (a problem of conscious passivity, the problem of the existence of the pre-conscious past, and the problem of other minds).  I elaborate the concept of institution by drawing on three levels of institution which I present through the examples of organic sensori-motor development, expressive human habituation and learning (particularly writing), and the experience of shared social spaces and gestures.  After exploring these organic, personal, and social institutions, I will briefly develop the implications institution has for, on the one hand, attempts to naturalize phenomenology, and on the other, how we should rethink individual responsibility on the basis of institution.

Talk given at University of Alberta philosophy colloquium series, 27 November 2015.

Contemporary political ethics has to face the question of how to repair relations which have broken down after crimes, oppression, and political violence. The book employs the work of European and feminist philosophers, including Jacques Derrida, Albert Camus, Simone Beauvoir, Hannah Arendt, Karl Jaspers, Jean-Paul Sartre, Giorgio Agamben, Immanuel Kant, Jean Améry, Vladimir Jankélévitch, Margaret Urban Walker and Linda Radzik to engage with historical and recent cases: the post-liberation French purge, post-genocide Rwanda and post-colonial Australia and draws out the negative and positive conditions of ethical political responses in these contexts. It develops a philosophical account of ethical restoration through focusing on just punishment, guilt and shame, rebuilding political trust, forgiveness and reconciliation, remorse and atonement, and self-forgiveness.

Çeviren: Murat Erşen
Fransız Felsefesi'nin doruklarından Jacques Derrida'dan bağışlamak, bağışlanamaz olan ve zaman aşımına uğramayan üzerine ufuk açıcı bir seminer. Affetmek, bağışlamak, af dilemek çağında; zaman aşımına uğramayan ve insanlığa karşı işlenen suçlar çağında çıkageliyor Bağışlamak. Derrida hayati soruları hayatımıza bırakıyor. Jankelevitch affetti mi, Heidegger affedilebilir mi?!

"Ölüm Almanya'dan Gelen Bir Ustadır"

"Ben Yahudi öldürmedim. Alman olarak doğmak benim ne kabahatim ne de meziyetim. Benden izin isteyen olmadı [böylece birden bizi artık terk etmeyecek o soru, bir bizin ve 'hangi biz'in mirasına, soykütüğüne, kollektifliğine dayalı suçluluk ya da bağışlama gibi devasa bir soru da sorulmuş oldu]. Nazi suçları konusunda tamamen masumum; ama bu beni pek teselli etmiyor. Vicdanım rahat değil […] ve utanç, acıma, tevekkül, hüzün, kuşku, isyan karışımı bir şeyler hissediyorum. Hâlâ uykularım kaçıyor.

Sıklıkla bütün gece uyanık kalıyorum ve düşünüyorum, hayal ediyorum. Yakamı sıyıramadığım kâbuslarım var. ANNE FRANK'ı, AUSCHWITZ'i, TODESFUGE'yi ve NUIT ET BROUILLARD'ı düşünüyorum "Der Tod ist ein Meister aus Deutschland." [Ölüm Almanya'dan gelen bir ustadır.]"

When discussing the topic of music and philosophy as a musicologist, we cross a threshold and take another direction. Limited by a musicological perspective, we are often tempted to have a reductionist attitude, leaning towards synthesis and simplification. Crossing this threshold to reach the philosophy of music, we head for the quest of the nature of the work and of our own musical experience, in which explanations not only do not reduce the thought, but may continue, at least theoretically, to infinity.
This impulse however is very quickly stopped by the unprovable, the unspeakable or, according to French philosopher Vladimir Jankélévitch, by "something that does not exist and yet is the most important thing of all the important things, the only one that is worth saying and the only one that in fact we can’t say!”  The philosophy of music allows us to seek this Presque-rien which precisely separates musicology from the philosophy of music, and which immerses us in the search for the deeper meaning of the work, faced with which we are like Giacinto Scelsi at his piano, stubbornly hitting a key and waiting for the quintessence of its essence or the meaning of meaning to appear.
Musicology, by saying Presque-tout, can never cross the threshold of this Presque-rien which is missing in the ultimate understanding of a work, can never elucidate the mystery, the Charm which emanates from a musical work and which, in fact, affects us first.
Vladimir Jankélévitch himself, who was both a practitioner of music and a philosopher, has followed through his writings the path between the grammarian and the philosopher, in other words, has covered this long distance of Presque-rien.

"Time will heal everything: but what if time is the illness?" - Aiming at the "creation of normal and, if possible, good relationships after grave violent incidents" (Leiner 2018, 176), reconciliatory processes are constitutively temporal processes. A philosophical exploration of time is required in their understanding, and a possibility in this direction is offered by the writings of Vladimir Jankélévitch (1903-85). As a scholar of Henri Bergson, Jankélévitch inherited his conception of durée, formulating an original moral philosophy, that can be read as a phenomenology of reconciliatory processes according to their temporal connotation.

Il "Nuovo Giornale di Filosofia della Religione" (NGFR) -ISSN 2532 -1676 è uno spazio di confronto scientifico, non confessionale e "laico", per coloro che intendono approfondire i presupposti filosofici dell'esperienza religiosa, in generale in quanto teoria della religione e all'interno delle singole tradizioni religiose, in quanto fenomenologia della religione.

I saggi raccolti in questo volume discutono alcuni temi della filosofia della musica nel Novecento : dalla presenza del mito di Beethoven nella cultura centroeuropea, all’interpretazione delle rapide metamorfosi dei materiali sonori posteriori alla crisi del sistema tonale, al proposito di individuare nella musica una peculiare esperienza della temporalità. L’esame critico coinvolge i criteri d’interpretazione dell’opera musicale fondati su paradigmi quali la fenomenologia, l’ermeneutica, il pensiero dialettico, la teoria della ricezione.

Claude Debussy is probably the first modern composer who emphasized silence as an active element, of meaning and value, in his music. What specific meaning and value, however, is far from clear. It has even been said that precisely the imprecision and enigmatic character are the most typical traits of the semantic behaviour of debussyste musical silence. For example, we can distinguish the speculative breath of the interpretations proposed by Vladimir Jankélévitch and Lydia Goehr; both treat the debussyst musical silence as an ideal mean for evoking a certain sense of mystery. On the one hand, L. Goehr considers this sense of mystery belonging to a typical symbolist tendency: that of creating works of art which evokes more than they can express, thus referring to a type of intangible transcendence, capable of opening a generous imaginative space for endless interpretation. On the other hand, the French philosopher believes that the inner musicality of silence in Debussy’s creation does not in any way signify the intention of representing some occult reality, but precisely the reality of the existing world as it is. In other words, Debussy’s music succeds in evoking the supreme mystery of existence, namely its instantaneity and transience, the amazing and deeply inexplicable fact that there is something rather than nothing.

S’installer dans les apparences de la relation philosophique entre Levinas et Jankélévitch, c’est soutenir non pas une unique thèse, mais plutôt trois. Cette relation n’a jamais été actualisée dans un débat ou dans la confrontation directe de ces deux philosophies. Et pourtant, le statut primordial assigné à l’éthique et à la place de l’autre homme, pour le dire dans les termes levinassiens, ou le statut primordial assigné à la morale et à la place du prochain, dans les termes jankélévitchiens, — ce statut atteste d’une certaine solidarité entre ces deux philosophies.

L'Isle joyeuse (The Joyful Island) is one of Claude Debussy's (1862-1918) piano piece with the most developed, colored and complex writing. The composer will say himself "This piece seems to gather all the ways to touch the piano, for it unites force with grace." He's here at his musical maturity, having already composed works like Prélude à l 'Après-midi d'un faune, or Pelléas et Mélisande; Marguerite Long describes it as "a lavish vision, a wind of joy of a tremendous exuberance." What makes L'Isle joyeuse such a masterpiece in piano music? We'll see firstly the evolution of his music for piano, the agitated biographical context, then references to visual arts and the relation of the piece with Masques. Then, we'll examine the structural part and the stylistic and harmonic techniques through the detailed analysis of three motifs used in the piece.

La perspectiva de Vladimir Jankélévitch ha abordado ampliamente el “perdón” como problema filosófico, ético-moral y político. Atento a los acontecimientos que marcaron a fuego el siglo XX, sus reflexiones reescribirán tanto la vivencia de la Segunda guerra mundial, que lo proscribe profesionalmente y lo compromete en la Resistencia francesa, como la experiencia de formar parte de una sociedad que, años más tarde, abrirá el debate acerca de la “prescriptibilidad” de los crímenes contra la humanidad. La hipótesis que organiza este artículo es que habría dos momentos, dos tiempos del perdón en la perspectiva de este autor, que estarían atravesados por estas experiencias biográficas e históricas. Estos dos tiempos, no secuenciables, marcarían, de un modo más profundo e insondable, una tensión paradójica que atravesará el pensamiento de V. Jankélévitch: el perdón, verdadero y puro, puede ser concebido en el horizonte de una ética hiperbólica, pero, también es legítima la posibilidad de no perdonar como modalidad política de la justicia. De esta manera, enmarcando este estudio en una articulación entre filosofía y vida, exponemos una heurística profunda de distintas fuentes bibliográficas primarias y secundarias, a fin de reconocer los ‘dos tiempos’ en el modo de abordar la cuestión del perdón en la perspectiva jankélévitchiana.

La musica è arte temporale per eccellenza. Che l'opera musicale si riveli una forma sempre diversa di organizzazione del tempo è stato da più parti riconosciuto: 1 la musica, incontrando il tempo in cui si dispiega, lo pone come un problema, dalle diverse e alternative soluzioni creative. L'unità di musica e tempo si realizza su un piano così intrinseco e ineludibile, che in ogni forma di approccio all'arte dei suoni è impossibile astrarre l'elemento vuoto del tempo e disporlo per l'analisi. Ecco perché diviene lecita la domanda se, attraverso l'opera d'arte musicale, non sia possibile fare luce su di una immagine del tempo più variopinta e polimorfa di quella che ordinariamente assumiamo. Esistono una temporalità "autentica" dell'opera d'arte musicale e una "inautentica"? 2 Può la musica che scorre attraverso il tempo modificare la esperienza soggettiva dello stesso? E secondo quali forme?

To Nurith, my mother, who with infinite love taught me how to look at paintings 1. To draw a line by candlelight I n his memoirs, the painter Giorgio de Chirico returns to his childhood with particular attention to the times and events surrounding the death of his father. In his description of that period clouded by death, there are two particular episodes that invite us to draw a connection between de Chirico's experience of loss and mourning and the developing sense of his vocation as an artist. The first episode had taken place a few weeks before the death of Giorgio's father.

“Born on 25th May 1936. Two specific desires: not to become an adult, and to write”. Jacqueline Risset (1936-2014) was a translator from French (Ponge, Sollers, the Tel Quel poets) and Italian (Dante, Machiavelli, Balestrini), as well as a well-known scholar for her work on Scève, Proust and Bataille. The aim of this volume is to analyse Risset’s poetic work, from the beginnings with textual writing in the experimentalism of Tel Quel, through a trajectory that, crossing Dante and Stilnovism through the translation of the Divine Comedy, led the author to the elaboration of a poetics centred on “privileged instants” that open “to the elsewhere”.

Par-delà l’accumulation des siècles et des doctrines, Jésus de Nazareth peut-il être notre contemporain ? Comment s’y retrouver parmi les divers portraits du Jésus de l’histoire ? Y a-t-il un gouffre entre le Christ de Paul, le Jésus des Synoptiques et le Christ des conciles ? Comment se fait-il que les avancées conciliaires au sujet du Christ aient entraîné la division des Églises ? Est-il acceptable que la tunique du Christ demeure déchirée, alors que les déclarations communes professent la même foi au Christ ? À travers ces questions graves, cette christologie brève et actuelle propose des discernements et ouvre un chemin novateur. Elle est attentive non seulement aux concepts, mais aussi aux martyrs, aux pratiques et aux dialogues. Puis l’Incarnation, la Croix et la Gloire sont réinvesties par la pensée, à l’aide d’expériences structurantes pour nos contemporains : l’indignation, l’empathie et la compassion, l’affrontement à l’impardonnable, la disparition du Ressuscité, etc.

The ineffable (l’ineffable) is a fundamental concept for a range of twentieth-century French philosophers (Louis Lavelle, Ferdinand Alquié, Jean Wahl). It plays a particularly important role in Vladimir Jankélévitch’s philosophy of music, being also one of the crucial elements of his thought as a whole, including his ineffabilist metaphysics and moral philosophy. In Nick Zangwill’s latest book, Music and Aesthetic Reality (2015), which makes no reference to this continental tradition, the ineffable re-emerges as a key component of a philosophical defence of formalism in musical aesthetics and of realism with respect to musical aesthetic properties.
My aim in this paper is to explore the effective interrelation between these two musical ineffabilisms, despite the fact that the author of Music and the Ineffable is never mentioned in Zangwill’s text. First, I discuss briefly the triad indicible – ineffable – inexprimable in Jankélévitch, taking into account his negative metaphysics and ethics, as well as his Neoplatonic roots (Plotinus, Proclus), his dialogue with apophatic theology (Pseudo-Dionysius, Cappadocian Fathers) and the abundant references to mysticism (St John of the Cross, Jakob Böhme, Angelus Silesius) in this context. Second, I reconstruct and discuss Zangwill’s three fundamental theses on music: formalism, realism and ineffabilism, offering some critical remarks. Third, I propose an original general classification of the ineffabilist theses on music (three universal and four particular), ordered with respect to the traditional formalist – antiformalist antithesis. As a result, various distinct ineffabilist theses are made explicit, compared and put in order. In the fourth and last part, I argue that both authors characterise the musical ineffable consistently in terms of immanent sense, typical of the ineffabilist theses grouped in my taxonomy as formalist, rejecting anti-formalist sorts of ineffabilism. Thus Jankélévitch, for all the methodological, axiological and stylistic features to which Zangwill is diametrically opposed, can be perfectly catalogued under the label coined by Zangwill for his own view on music: immanent mysticism.

Ce mémoire a pour objet de décrire l’opération de la grâce dans la pensée de Jankélévitch. Pour y parvenir, notre exposé prendra la forme d’un itinéraire éthique. Nous montrerons d’abord que l’homme peut vouloir de deux manières différentes. Il peut se préférer lui-même, se placer comme finalité de son action ou bien, à l’inverse, choisir l’autre comme point focal. Cette deuxième option ne va pas de soi et nécessite un effort de liberté. Dans un deuxième temps, nous expliquerons que ces deux manières de vouloir impliquent la conscience. Se préférer module la conscience tout comme préférer son prochain. Or, la conscience est animée d’une dynamique propre. L’éthique devra chercher à allier la manière de vouloir à celle-ci. Un bon vouloir en phase avec l’évolution de la conscience mène à l’innocence, le stade ultime de la conscience, aussi appelée l’état de grâce. Cet état de grâce est un point culminant, difficile à atteindre et qui commande un important effort de liberté. Il rend possible l’opération de la grâce, objet de notre troisième chapitre. L’opération de la grâce est un moment de conversion qui place l’homme au- dessus de sa nature biologique et le fait coïncider avec un mouvement métempirique. Lorsque cela se produit, l’agent touche au sommet de la vie morale jankélévitchienne, il devient créateur de valeur, générateur de la morale.

Claude Debussy lesse il dramma Pelléas et Mélisande di Maurice Maeterlinck nell'estate del 1892 e il 17 maggio dell'anno seguente assistette alla sua rappresentazione al Théatre des Bouffes-Parisiens. Il giorno successivo egli già stendeva i primi abbozzi e, ottenuta da Maeterlinck l'autorizzazione a musicare il testo e ad apportarvi alcuni tagli, a partire dall'agosto del 1893 si gettava nella composizione della scena della fontana, nel IV atto, il climax dell'intera vicenda, ultimandola in quattro mesi. Nell'agosto del 1895 annuncia il completamento del lavoro (salvo, ovviamente, l'orchestrazione per la quale attende che l'impresario dell'Opéra-Comique, nonché futuro direttore di scena, Albert Carré gli dia garanzie sull'inserimento dell'opera in cartellone). Nonostante si presentino già da quell'anno diverse possibilità di esecuzione dell'opera in forma non teatrale Debussy rifiuta: "…se quest'opera ha qualche merito, esso consiste nella stretta connessione tra dramma e musica. È chiaro che in una esecuzione concertistica questa connessione svanirebbe e nessuno potrebbe essere rimproverato per non aver colto quello che c'è sotto gli eloquenti "silenzi" di cui l'opera è disseminata" (13-10-1896). A partire dal maggio 1901, Carré confirmante, egli stende la strumentazione e inserisce alcuni interludi orchestrali resi necessari dai cambi di scena. Nell'estate dello stesso anno Debussy suona lo spartito a casa di Maeterlinck, a Parigi in rue Raynouard, mentre il padrone di casa fuma la pipa e quasi si addormenta. Lì nasce la proposta, che il compositore accetta, di scritturare come prima donna la moglie del poeta, Georgette Leblanc. Una imprudenza che costerà a Debussy molte noie. Quando infatti egli si incontrerà con Carré e col direttore d'orchestra André Messager al caffè Weber, per il ruolo della protagonista verrà fatto il nome di Mary Garden, cantante che aveva debuttato nella Luise di Charpentier con straordinario successo. La decisione fu presto fatta a casa Messager dove Debussy, "con quella sua voce profonda e sepolcrale" fece scoppiare in "singhiozzi dirotti" la nuova prescelta. Quando poco dopo l'inizio delle prove, il 13 gennaio, Maeterlinck lesse i giornali, una collera veemente lo assalì. (Nota a piè: non abbia timore di non capire il lettore di oggi; erano ancora quelli tempi in cui la carta stampata considerava notizia la nascita di una nuova opera). Protestò, lui che non amava l'opera, presso la Commission des Auteurs per l'oltraggio recato alla sua signora, cercando di impedire la rappresentazione dell'opera. Debussy, che nel frattempo passava le notti a buttar giù note maledicendo i cambi di scena di Carré, ritrovò tra i suoi fogli la lettera in data 19 ottobre 1895 nella quale Maeterlinck lo autorizzava a rappresentare l'opera "quando, dove e come voleva". Pensate chi si costringe a far da comprimario raccontando certe storie: dovette intervenire a dar ragione al compositore nientemeno che Victorien Sardou, che allora presedeva la Commission. La storia prosegue tra chiromanti e sfide a duello, ma noi ritorniamo in Place Boieldieu, dove dentro l'edificio dell'Operà-Comique si continuano le prove tra gli sbuffi degli orchestrali per le parti mal copiate da uno studentello e l'entusiasmo degli ottoni che, lasciati disoccupati da Debussy, avevano tempo per commuoversi ( "non sappiamo quale effetto faccia a voi che state lì al vostro posto, ma quando Arkel dice "Se fossi Dio avrei pietà del cuore degli uomini" è veramente meraviglioso" dissero al compositore).

My aim here is to reconnect the systematic sense of mannerism with its art historical sense. After a brief discussion of how philosophy intervenes in art historical debates surrounding mannerism, we will first revisit the paradox of what Jean-Luc Nancy has called ‘the singular plural of the essence of the arts’. Well before the beginning of the historical era of Art and its alleged modern end, mannerism already discovered that the vestige of art, once we leave behind its claim to an essence or dominant style, is a plurality of manners, each of which marks ‘art’s beginning’ – or becoming – ‘otherwise than art’ . Moreover, while mannerism is a concept of becoming specific to art, occurring in the 16th century qua historical ‘style,’ it is not limited to art. For both Giorgio Agamben and Gilles Deleuze, it describes a general economy of use. As we will see, however, their interpretations (lateness versus novelty) and evaluations (alienation versus naturalization) nonetheless diverge, such that, with Agamben, mannerism remains bound by the classical opposition of style and manner, whereas with Deleuze, it explodes into modernism.

Les philosophies de Sartre et de Jankélévitch sont deux philosophies de l’existence qui sont des manifestations particulièrement évidentes et pertinentes d’une transformation philosophique, d’une substitution d’un concept par un autre en France au 20ème siècle : de la peur à l’angoisse. En effet, On ne peut que remarquer l’effet de mode qui s’empare de la philosophie française des années 1940 aux années 1960 et introduit l’angoisse jusqu’au plus profond des œuvres.

Insieme a Dante, Proust è senza dubbio l'autore su cui Jacqueline Risset ha scritto più frequentemente: lo dimostrano i testi raccolti nelle due sezioni di "Proust in progress", opera postuma di Jacqueline Risset in cui Marina Galletti e Sara Svolacchia hanno raccolto i saggi e gli articoli scritti dall'autrice su Proust. Ma Proust ha certamente rappresentato per Risset molto più di un interesse accademico. Questa postfazione tenta di identificare nel tentativo di scrivere l'istante il motivo comune ai due autori.

Despite the fact that Levinas has often been accused of having little or no room for the maternal in his writing, his rhetoric nonetheless applies maternal tendencies that complicate his ethical stance and its relation to the experience of vulnerability. Haunting Levinas’s oeuvre as the locus classicus for the un-substitutable, which in turn breaks with ontologies of sacrifice, the maternal inflects Levinas’s thought in crucial junctures, whether this be the responsibility for the Other, or his thoughts on ipseity, as well as his articulation of the relation to the Same. Through a close reading of the two versions of “Substitution” as well as select passages from Otherwise than Being, the article demonstrates how Levinas’s ethical inflection and grid of utterance simultaneously depend on and disavow the maternal as an ontological occurrence.

Bu çalışma, Vladimir Jankélévitch'in bağışlama düşüncesini ana hatlarıyla ortaya koymayı amaçlamaktadır. Bu doğrultuda öncelikle bağışlama düşüncesinin metafizik dayanakları ele alınarak Jankélévitch'in " ilk felsefe " anlayışı açıklanmaya çalışılmaktadır. Ardından, Jankélévitch'in gerçek bağışlamadan söz edebilmenin yolu olarak gördüğü sözde bağışlamalara yer verilmekte, söz konusu yaklaşımların neden gerçek bağışlama anlamına gelemeyeceği ortaya konduktan sonra ise saf bağışlamanın olanağı tartışılmaktadır. Çalışma, Derrida'nın Jankélévitch'e yönelttiği eleştiriler ve bu eleştirilerin değerlendirilmesiyle son bulmaktadır. ABSTRACT This study aims to reveal an outline of Vladimir Jankélévitch's idea of forgiveness. Accordingly, by dealing with the metaphysical foundations of forgiveness, Jankélévitch's reflections on " first philosophy " will be scrutinized. Since Jankélévitch thinks that true forgiveness can only be understood through pseudo-forgivenesses; these will be discussed and will be tried to explain why they cannot be regarded as true forgiveness, followed by a discussion on the possibility of pure forgiveness. The final section includes Derrida's critiques on Jankélévitch and an assessment of his commentaries as concluding remarks.

Frédéric Bisson, Comment bâtir un monde. Le Gai Savoir de Gustav Mahler, Louvain-la-Neuve, Les Éditions Chromatika, 2011. (978-2-930517-32-2 ; 196 p. ; 17 €)

Exercice spontané de métaphysique, la Troisième Symphonie de Gustav Mahler nous enseigne comment bâtir un monde. Archétype de l’art symphonique mahlérien, son premier mouvement est tendu entre le grand style romantique, dont Mahler est l’ultime dépositaire, et les « banalités » populaires qui le corrompent de l’intérieur. Quel est le sens de ce contraste entre le haut et le bas ? Le programme le figure comme un mouvement d’élévation, de la Terre vers le Ciel. Mais cette signification cosmologique surcode une puissance politique, directement exprimée par l’idiome musical. Cette puissance inconsciente, couvant dans la situation minoritaire de Mahler, est celle d’un devenir ambigu de la Symphonie, à la fois singulier et universel, humoristique et effroyable. À l’occasion du centenaire de sa mort, ce livre de philosophie constitue ainsi un hommage à la pensée musicale de Mahler.

Frédéric Bisson, agrégé de philosophie, est professeur au lycée Gambier de Lisieux. Il a publié sur Whitehead et le renouveau rythmologique. Membre du collectif de rédaction de la revue Multitudes, il travaille sur les croisements de la culture savante et de la culture pop.

Il testo rappresenta il tentativo, preliminare e parziale, di offrire una riflessione sull'atto empatico empirico e incarnato più che sul concetto di empatia in sé. Lo scritto segue come traccia fondamentale la trattazione fenomenologica di Edith Stein sull'empatia, innestando però su di essa considerazioni personali oltre al contributo filosofico di Vladimir Jankélévitch.

Institut catholique de Toulouse, octobre 2015 « La réussite virtuose est une chance, et cette chance inouïe est elle--même relative à la misère et à la déréliction fondamentales de l'homme ». Dans ces mots de Vladimir Jankélévitch, rédigés dans son ouvrage Liszt et la rhapsodie.

Locus Classicus'u" FURKAN SÖNMEZ "[…] kitapta-kimin adını kabul etmişti benimkinden önce?-, kulübedeki kitapta, bir umut, yazılı bir satır, bugün, düşünceli birinin kalbine gelecek sözde, […]" (Paul Celan, Todtnauberg) 1 Burada Foucaultcu anlamda bir alet çantasından bahsediyorum. Bize soruşturacağımız konuda bir anahtar bahşeden ikircikliklerin ve karmaşıkları açımlamamıza yarayan…

a Table des articles et des comptes rendus 1940-2000 de la vénérable Revue d'histoire littéraire de la France apparaît à la fois comme un outil de travail comme mémorial. Publiée soixante et un ans après la fin de la Seconde Guerre mondiale, cette somme est présentée sans pathos, mais avec tact et finesse, comme une oeuvre de réparation. Après avoir rappelé que la RHLF n'a pas paru entre 1940 et 1946, le directeur de l'équipe de l'université d'Eichstaett, maître d'oeuvre de cette table monumentale, écrit : « C'est aussi une des raisons, et pas la moindre, pour laquelle nous, de ce côté du Rhin, nous avons pris en charge la tâche d'établir ces Tables 1 . » Comme un écho, cette phrase ramène aux lendemains d'une autre guerre, celle de 14-18, qui détermina un certain nombre d'écrivains non seulement à oeuvrer, comme Jean Giraudoux, à la réconciliation franco-allemande, mais à réveiller et à développer avec une ampleur sans précédent le sentiment de l'Europe, plus précisément d'une Europe littéraire qui excède largement les frontières officielles. Ce sentiment n'avait pas attendu les années 1920 pour s'exprimer, mais il ne se manifeste plus avec évidence, comme aux époques où la littérature française était naturellement européenne, alors que 1 Revue d'histoire littéraire de la France. Table des articles et des comptes rendus 1940-2000, sous la direction de Winfried Wehle, en coopération avec Ute Halbig, établie par Andreas Friedel, Paris, PUF, 2006, p. VI.

Este ensaio, como toda a coletânea no qual se inscreve, tem como objetivo abordar o especial diálogo entre um filósofo e determinado repertório musical (compositor, gênero, estilo), particularmente examinado em sua obra. Observa-se o lugar de destaque concedido a Gabriel Fauré nos textos filosóficos e musicológicos de Vladimir Jankélévitch, cujo primeiro livro dedicado à música se intitula: "Gabriel Fauré et ses mélodies" (1937). Portanto, o presente ensaio enfocará a leitura jankélévitchiana da canção (mélodie) de Fauré, a partir da qual será possível situar as principais fases do compositor, rever conceitos fundamentais do filósofo (o je-ne-sais-quoi e o charme, diretamente associado à poética de Fauré), assim como verificar a compreensão da expressão musical por Jankélévitch, evidenciada pela relação texto (poético)-música constitutiva ao gênero escolhido.

The present research studies music as an art of anxiety from the points of view of both  Martin  Heidegger’s  thought  and  phenomenological  philosophy  in  general. In the Heideggerian perspective, anxiety is understood as a fundamental mode of being (Grundbefindlichkeit) in human existence. Taken as an existential-ontological concept, anxiety is conceived philosophically and not psychologically. The central research  questions  are:  what  is  the  relationship  between  music  and  existential-ontological anxiety? In what way can music be considered as an art of anxiety? In thinking of music as a channel and manifestation of anxiety, what makes it a special case? What are the possible applications of phenomenology and Heideggerian thought in musicology?

The main aim of the research is to develop a theory of music as an art of existential-ontological  anxiety  and  to  apply  this  theory  to  musicologically  relevant phenomena. Furthermore, the research will contribute to contemporary musicological debates and research as it aims to outline the phenomenological study of music as a field of its own; the development of a specific methodology is implicit in these aims.

The  main  subject  of  the  study,  a  theory  of  music  as  an  art  of  anxiety,  integrates Heideggerian and phenomenological philosophies with critical and cultural
theories concerning violence, social sacrifice, and mimetic desire (René Girard), music, noise and society (Jacques Attali), and the affect-based “charme” of music (Vladimir  Jankélévitch). Thus,  in  addition  to  the  subjective  mood  (Stimmung)  of emptiness and meaninglessness, the philosophical concept of anxiety also refers to a state of disorder and chaos in general; for instance, to noise in the realm of sound and total (social) violence at the level of society.

In this study, music is approached as conveying the existentially crucial human compulsion for signifying – i.e., organizing – chaos. In music, this happens primarily at the immediate level of experience, i.e. in affectivity, and also in relation to all of the aforementioned dimensions (sound, society, consciousness, and so on). Thus, music’s existential-ontological meaning in human existence, Dasein, is in its ability to reveal different orders of existence as such. Indeed, this makes music the art of anxiety: more precisely, music can be existentially significant at the level of moods.

The  study  proceeds  from  outlining  the  relevance  of  phenomenology  and Heidegger’s philosophy in musicology to the philosophical development of a theory  of  music  as  the  art  of  anxiety. The  theory  is  developed  further  through  the study of three selected specific musical phenomena: the concept of a musical work, guitar smashing in the performance tradition of rock music, and Erik Bergman’s orchestral work Colori ed improvvisazioni. The first example illustrates the level of individual  human-subject  in  music  as  the  art  of  anxiety,  as  a  means  of  signifying chaos, while the second example focuses on the collective need to socio-culturally channel  violence. The  third  example,  being  music-analytical,  studies  contemporary  music’s  ability  to  mirror  the  structures  of  anxiety  at  the  level  of  a  specific musical text. The selected examples illustrate that, in addition to the philosophical orientation, the research also contributes to music analysis, popular music studies, and the cultural-critical study of music.

Fundamentalna dla szeregu przedstawicieli dwudziestowiecznej filozofii francuskiej kategoria 'ineffable' znalazła szczególne odbicie w myśli muzycznej Vladimira Jankélévitcha. W najnowszej książce brytyjskiego estetyka analitycznego Nicka Zangwilla ("Music and Aesthetic Reality: Formalism and the Limits of Description", Routledge, czerwiec 2015) - w zupełnym oderwaniu od tej kontynentalnej tradycji - ineffable pojawia się jako kluczowy element  konstrukcji filozoficznej, której celem jest rehabilitacja i ponowne umocowanie tezy formalizmu w estetyce muzycznej oraz obrona realizmu w odniesieniu do muzycznych własności estetycznych.
W wystąpieniu przybliżam krytycznie propozycję Zangwilla i badam stosunek zachodzący pomiędzy jego pojęciem ineffable a tym, które wypracował (zignorowany przezeń) Jankélévitch.
[W załączeniu pełen program Zjazdu]

Προηγείται η ανάλυση της τρίπτυχης δομής της παράστασης με έμφαση τόσο στη διακειμενικότητα και την ειδολογική και υφολογική ποικιλία των κειμένων που χρησιμοποιεί (ιστορικές μαρτυρίες, προσωπικές αφηγήσεις των ηθοποιών, χρονογραφήματα, επίσημα κρατικά έγγραφα, φιλοσοφικά έργα, θρησκευτικά κείμενα κ.ά.), όσο και στην προσωδιακή, μουσική και εικαστική πλευρά της. Στη συνέχεια αναλύεται φιλοσοφικά η χρονική τροπικότητα του «έχει υπάρξει» που στιγματίζει το έργο ως υπαρκτική προτεροχρονία και διακλαδίζεται σε δύο διαφορετικούς, πλην αμοιβαία περιχωρούμενους δρόμους.
Στον έναν κατισχύει η ιδιότητα της προτεροχρονίας που όμως είναι συνημμένη στο παρόν, με βάση το οποίο ακριβώς είναι προτεροχρονία (πρόκειται για το «έχει υπάρξει», το Gewesenheit για τον Heidegger του Sein und Zeit). Στον άλλον δρόμο υπερτερεί ο γεγονικός χαρακτήρας, ο συντελεσμένος χρόνος, το εκπνεύσαν παρελθόν, το εξαφανισμένο ίχνος (Vergangenheit, η λήξασα παρελθοντικότητα). Στον δρόμο της προτεροχρονίας αναγνωρίζουμε το αμετάκλητο (irrévocable), όπως ορίζεται από τον Jankélevitch στο L’irréversible et la nostalgie και στο La mort, ως αυτό που έχει λάβει χώρα και δεν μπορεί να ακυρωθεί ηθικά ή να εκμηδενιστεί οντολογικά (ό,τι γίνεται δεν ξεγίνεται, ο γέγονε, γέγονε), γι’ αυτό και έχει ένα ηθικό στίγμα που εκδηλώνεται με την τύψη. Στον άλλον δρόμο, του εκπνεύσαντος παρελθόντος, αντιστοιχούμε το μη αναστρέψιμο (irréversible), δηλαδή το ανεπίστρεπτο του παρελθόντος, το «ποτέ πια» ενός γεγονότος και την αδυναμία μας να επιστρέψουμε εμείς στο γεγονός αυτό, γι’ αυτό και έχει μια αισθητικίζουσα τονικότητα που εκφράζεται με τη νοσταλγία.
Η παράσταση του Μοσχόπουλου αναλύεται στη βάση της λεπτής διαφοράς μεταξύ των δύο δρόμων κατά την οποία το «έχει υπάρξει» προσφέρει ένα πιθανό ενδιαίτημα στο υπόχρεον-είναι. Το συντελεσμένο και μη-αναστρέψιμο παρελθόν δεν είναι σε θέση να κληροδοτήσει κάτι παρά μόνο σε έναν ύστερο χρόνο και με τρόπο εξωτερικό: το ανακαλούμε προαιρετικά και το καθιστούμε αναφορά του παρόντος μας, ως ένα «όχι πλέον», ένα «μη είναι πια». Στη σφαίρα όμως του «έχει υπάρξει», του αμετάκλητου αναδύεται πολύ συχνά η σιωπηλή και απροειδοποίητη δύναμη του υπόχρεου-είναι, η δύναμη μιας άφωνης και άγραφης διαθήκης η οποία εισάγει στην πλησμονή της παροντικής στιγμής το θραύσμα του χρέους. Πρόκειται για το χρέος όπως το περιγράφει ο Walter Benjamin στις Θέσεις για τη φιλοσοφία της ιστορίας, όπου ακριβώς μέσω του χρέους των ζωντανών οι αδικαίωτοι νεκροί του σωρευμένων ναυαγίων του παρελθόντος προσμένουν μια πνοή δικαιοσύνης. Μέσω της ανάλυσης του ιστορικού και του βιωμένου χρόνου, της μυθοπλαστικής, ερμηνευτικής, διακειμενικής πτυχής της παράστασης και του επιτελεστικού χαρακτήρα της ιστορίας, υποστηρίζεται ότι η Μέδουσα αφουγκράζεται τις εκκλήσεις των νεκρών και αναδέχεται το χρέος μιας αναπαράστασης του ναυαγίου που μπορεί να είναι και δικό μας.

This paper addresses the question of the risks of hospitality through an examination of two twentieth century French philosophers, Vladimir Jankélévitch and Emmanuel Levinas. With Jankélévitch the limits of forgiveness, both practically and morally, are examined, and thus the limits of hospitality. Levinas offers another approach, still seeing the problematic nature of forgiveness, but insisting on the rights of the stranger who has no other protection, whilst also insisting on the fundamental place of justice in any debate over forgiveness and hospitality. The paper ends by drawing on these two authors to reflect on attitudes to migrants in the Czech Republic today and asks what the approaches described can provide.

Death is an unsurmountable problem for truth systems. This paper aims at discussing the relationship between death and truth, swaying from Western (Plato's Phaedo, V. Jankélévitch, E. Morin) to Buddhist sources (mainly Chan-Zen Biyanlu and Dogen). These contributions are interpreted according to the distinction introduced here between epistemic-metaphysical transfiguration and semelfactive phenomenalism.

La inefabilidad se destaca como una de las características fundamentales de la experiencia mística, según William James e innúmeros relatos de los propios místicos. Así, aquel que se propone acercarse verbalmente a su experiencia inefable debe enfrentarse una tarea desde el inicio paradojal, que exige un método y un lenguaje específicos. Además, tal tarea parece, a primera vista, nada decir de nuevo, cuando interpretada como simple afirmación de una infranqueable limitación verbal. En nuestro estudio, verificaremos de qué modo el recurso a la inefabilidad, lejos de implicar una tautología, podría contribuir para la identificación de otros “trazos” esenciales de la experiencia mística. Para tanto, examinaremos cuatro pasajes de la obra de San Juan de la Cruz, extraídas de los libros "Llama de amor viva" y "Subida del Monte Carmelo", en que el místico carmelita alude a lo inefable. A partir de ellos, intentaremos identificar no sólo las características que acompañan la inefabilidad (1), sino también a qué ella se refiere, en cada contexto (2), de qué modo el autor puede lidiar con ella expresivamente (3) y, por fin, cuál sería el propósito de expresar o registrar verbalmente algo que no se conforma en palabras (4). Estableceremos nuestra reflexión mayormente a partir de un diálogo entre los escritos de San Juan de la Cruz y el pensamiento estético del filósofo francés Vladimir Jankélévitch. También recurriremos, en algunos momentos, a otros autores modernos y contemporáneos, como Goethe, Susanne Langer, George Steiner, María Zambrano y Jean Baruzi, con el objetivo de comprender mejor el tratamiento de la inefabilidad en el poeta de la "Noche oscura".

Erik Satie’s Socrate: Drame Symphonique, (an austere ode to the martyred philosopher for chamber orchestra and four sopranos) contains sparsely colored, contrapuntal, simply adorned musical lines predating the neoclassical aesthetic favored by Stravinsky in the 1920s. Recent scholarship on Socrate focuses on the musical sketches. This study examines the performance history, creation of the work’s libretto, how Satie’s setting of the text reinterprets the violent myth of Marsyas and Apollo and the implication of the philosopher’s dying words to reexamine the style dépouillé (“stripped-down” style). The essay places Socrate at the center of debates on philosophy, Hellenism and morality.