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Urban tourism via dispossession of oeuvres

Labor as a common denominator

Marc Morell

This city is itself ‘ oeuvre ’, a feature which contrasts with the irreversible tendency towards money and commerce, towards exchange and products . Indeed the oeuvre is use value and the product exchange value. ( Lefebvre 1996: 66 ) On living

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Nicole Abravanel

un impensé entaché d’invisibilité et d’illisibilité. On voudra, pour approcher cette distorsion, confronter la mise en perspective de l’œuvre romanesque de Navon avec celle d’Albert Cohen, grand maître en littérature, qui se rattache, non

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Hiroaki Seki

, figure troyenne et tragique qui dans la pensée occidentale occupe une place non moins importante : Cassandre. Ce personnage, dédaigné par la critique sartrienne jusqu’ici, reste une présence discrète mais récurrente dans l’œuvre de Sartre depuis les

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Adrian Van Den Hoven

[ainsi que pour] les articles de critique littéraire », 2 tandis que pour Anne Mathieu et Julien Piat : « Le Havre aura donc influencé une large part de l’œuvre à venir ; par-delà le décor et l’atmosphère de La Nausée , c’est là que Sartre se sera mis

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The Task of the Hebrew Translation

Reading into Othello’s Indian/Iudean Crux in the First Hebrew Translation

Eran Tzelgov

controversial cruxes in Shakespeare’s oeuvre and how their solution offers an insight into their understanding of the task of the translator. My approach is two-pronged, using Shakespeare studies and the study of Hebrew literature. First, I will examine the crux

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Thomas R. Flynn

Despite Sartre's almost proverbial rejection of Freudian psychoanalysis, Jean-Pierre Boulé places the philosopher himself on the couch in a wonderfully detailed and suggestive work. He notes that the fruit of his study may well be "to help us gain a better understanding of Sartre as an embodied sexual being and possibly demonstrate a new way of connecting biography with oeuvre." After analyzing Boulé's argument and considering the psychoanalytic method itself, I address this last claim about relating Sartre's biography and oeuvre, especially in view of the integral role assigned biography in any existentialist theory of history.

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Expliquer les régularités sociales

Durkheim critique et continuateur de Quetelet

Massimo Borlandi

Le premier chapitre du livre III du Suicide, ‘L’élément social du suicide’ (incontestablement le coeur de l’ouvrage selon son auteur), commence par le résumé de l’explication qu’Émile Durkheim vient de donner (dans le livre II) des régularités du phénomène dont il s’occupe. Ce résumé est suivi d’une digression sur Adolphe Quetelet et son oeuvre à laquelle le lecteur averti (contemporain de Durkheim) s’attend depuis déjà plusieurs pages.

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Seth Farber

Marc Ellis is one of the few Jewish American intellectuals who supports the Palestinian struggle against Israeli domination and oppression. His writings have been highly praised by progressive intellectuals like Noam Chomsky and by the late Edward Said, although his work is ignored or decried by organized Jewish community leaders and most academics in the U.S. Ellis's oeuvre is clearly in the Jewish theologian tradition; however he is a singular and innovative thinker who is known for crossing interdisciplinary (among other) boundaries.

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Emmanuelle Saada

À l’origine de ces quelques éléments de réflexion sur les lectures américaines d’Alain Corbin, il y a le souci de percer une énigme et, plus encore, de comprendre un malentendu: ces deux objectifs offrent une belle occasion de saisir les modes sur lesquels sont appropriés les travaux des historiens français et, audelà, d’éclairer certains points nodaux de l’oeuvre de Corbin. La réception américaine sera donc surtout ici prétexte à une entrée un peu décalée dans l’imposant massif corbinien.

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Jean-Pierre Boulé

In 1992, I published Sartre médiatique: La place de l’interview dans son oeuvre,1 a study of Sartre’s interviews and how they complement his written works. In discussing the 1970s, especially after the onset of Sartre’s partial blindness and his avowal to Michel Contat in the famous interview “Autoportrait à soixante-dix ans” that he could no longer write,2 it was apparent that Sartre had intentionally committed himself to what he was to call “plural thought,” first with one or two interviewers who were specialists in his work, and later and most significantly with Benny Lévy, a positive choice rather than a necessary substitute.