Academic literature on the topic 'Claude Imbert'

Claude Imbert's responses to Beauvoir, Merleau-Ponty and Lévi-Strauss characteristically interpret their work as philosophical departures and emigrations. Less interested in definitively abandoned conceptual models, Imbert focuses on incomplete, ‘vexed’, ‘active’ leaving: a text which is ‘out of synchronicity with its own philosophical time’; which is ‘in advance of oneself’; or uses a philosophical mode whose limitations and fracture points are concurrently revealed. Beauvoir's project in The Second Sex is interpreted as sustained by, and productive in, its own cul-de-sacs, while Merleau-Ponty is interpreted as engaged in an ongoing emigration from phenomenology and transcendentalism. Whereas Derrida's Lévi-Strauss reinstates a Rousseauist vision, Imbert's Lévi-Strauss is a figure perpetually departing from his own resources. In their irony, his reinstatements of nostalgia take leave of themselves. Imbert is described as a critic who has brought her acuity to such philosophical departures.

This article proposes a reading of the work of Claude Imbert through the concept of participation. This concept comes from the logical tradition of Plato, in which it designates the inscription of the intelligible within the sensible. But Imbert, following the Stoics, gives it an anthropological turn, showing that it opens onto a reading of the syntaxes by which an event is correlated to another. This turn can be considered as a continuation of the genealogy going from Lévy-Bruhl to Lévi-Strauss in the anthropological reflection on the participation of the intelligible and the sensible.

Claude Imbert often declares that the activity of philosophy now needs to be in line with the teachings of anthropology. In her book Maurice Merleau-Ponty, the very fact that the last course of the author of Phenomenology of Perception, questioning ‘The Possibility of Philosophy’, sketched out ‘the anthropological outline of an intellectual activity unburdened by any a priori’ [les contours anthropologiques d'un activité intellectuelle délestée de tout a priori] is considered by her as more evidence for such a necessity. My contribution explores the meaning of Claude Imbert's affirmation that today the possibility of philosophy is deeply connected with anthropological knowledge. It will, in particular, confront such an affirmation with the debate among African philosophers, concerning the relationship between philosophical activity and ethnography.

The philosopher of Mathematics Jean Cavaillès (1903–1944) plays an important role in Claude Imbert's thought. His published work had a significant impact after the war. It is largely a reflection on debates on the foundation of mathematics and on two opposed models of axiomatics, foundationalist and constructionist. The philosophy he announced (cut short by his death during World War II) was to be a study of the generativity of conceptual structures, as opposed to a phenomenology of knowledge. He derived from his reflection on invention in mathematics a great scepticism on the ideas of the separateness and unity of consciousness and a criticism of the teleologies inherent in philosophies of consciousness. In that, his work, according to Claude Imbert, made possible the reflections on structures and symbolisms which were to dominate the French context in the following decades.

Convinced that logic has a history and that its history always manages to surprise the philosophers, Claude Imbert has devoted much of her work to the study of the Stoic school and of the late-nineteenth-century German logician Gottlob Frege. In the fifth chapter of her book Pour une histoire de la logique, she examines the trajectory of Frege's awareness of what his new logic entails, in particular the way it subverts the project of Kant.

Frege's philosophical writings, including the “logistic project,” acquire a new insight by being confronted with Kant's criticism and Wittgenstein's logical and grammatical investigations. Between these two points a non-formalist history of logic is just taking shape, a history emphasizing the Greek and Kantian inheritance and its aftermath. It allows us to understand the radical change in rationality introduced by Gottlob Frege's syntax. This syntax put an end to Greek categorization and opened the way to the multiplicity of expressions producing their own intelligibility. This article is based on more technical analyses of Frege which Claude Imbert has previously offered in other writings (see references).

Le Point est fondé, en 1972, par des dissidents de l 'Express qui refusaient de participer à son évolution en magazine partisan. Six journalistes et trois gestionnaires imaginent alors un newsmagazine à la française où les faits auront la place prépondérante. Après les difficultés du lancement, c'est le début d'une succes story de dix ans avec des ventes en hausse constante et un magazine qui s'installe dans le monde médiatique. Au début des années 1980, la situation se complique : les premiers fondateurs quittent le journal, les ventes stagnent, l'actionnaire majoritaire vend ses parts. Le magazine tente la diversification de son activité aussi bien dans la presse que dans l'édition, la réalisation ou l'informatique. sans succès. Le modèle économique initial, fondé sur l'apport de la publicité, commence à s'éroder et le magazine se maintient surtout grâce à la fidélité de son lectorat. Les années 1990 marquent un tournant. L'actionnariat est continuellement modifié avec l'incorporation du Point dans des structures beaucoup plus grandes. La direction tente une rationalisation des coûts et se libère des multiples filières coûteuses. L'arrivée d'une nouvelle équipe en 2000 change le contenu et le contenant. L'objectif n'est plus la force de l'information mais l'augmentation des ventes. Ainsi, c'est l'analyse des différentes étapes de l'histoire de cet hebdomadaire que nous étudions pour comprendre comment le newsmagazine des années 70 a pu prendre les tournants de l'évolution de la société à l'aube du XXIème siècle<br>Le Point was created in 1972 by dissenting members of l 'Express, who wanted to oppose the magazine's evolution towards an ideology-based press. These six columnists and three managers imagined a French-style newsmagazine mainly focusing on facts. After a somewhat difficult launch, Le Point soon skyrocketed to engage in a ten-year success story, propelled by ever­rising sales and a growing market position, which ultimately made it a reference in the media landscape. At the beginning of the 1980s, the magazine's situation began to prove problematic: with the founding members leaving the team, sales started to stall and the main shareholder decided to sell his participation in Le Point. In response to this crisis, the new editorial team made an attempt at a diversification in the firm's activities, engaging in editing, as well as in computer science or in film-making, without much success. The initial business plan of the magazine, based on publicity income, was also beginning to falter; the magazine actually only sustained by the continued trust of its historical readers. The 1990s constituted a turning point for the magazine. During this period, the share ownership evolved rapidly and in a very unstable manner, with the magazine being often incorporated in various big structures and firms. New managing directors decided to sharply cut costs and to spin-off from the unprofitable activities in which the former team had engaged. With the arrival of yet a new team, the newspaper itself began to evolve, in terms of editorial content and of presentation. The pursued goal of this new strategy was to increase the sales volume, rather than to focus on news significance. We will therefore study, in this research. the many steps involved in the story of this weekly newspaper, so as to understand as a whole how the newsmagazine model, inherited from the 1970s, adapted to the various evolutions implied by the entry of society in the 21st century

Cette thèse se présente comme une monographie sur Pierre Drevet, graveur d'interprétation (Loire-sur-Rhône, 1663-Paris 1738) et sur deux de ses élèves, Pierre-Imbert Drevet (Paris, 1797-id. , 1739) et Claude Drevet (Loire-sur-Rhône, 1697-Paris 1781). Elle se compose de trois volumes dont le premier est constitué de trois parties, d'une bibliographaie raisonnée et alphabétique et d'un index des noms propres. La première partie retrace les origines familiales de Pierre Drevet, ses années d'apprentissages à Lyon et à Paris. La seconde partie aborde le déroulement de sa carrière à Paris et celui de la carrière de Pierre-Imbert et de Claude Drevet en tentant de les insérer dans le contexte artistique et historique de la fin du XVIIe siècle et du XVIIIe siècle. Une analyse de l'esthétique de l'œuvre de ces trois graveurs et des relations étroites existant entre peinture et gravure d'interprétation forment l'essentiel de la troisième partie ainsi qu'une étude sur leur fortune critique. L'influence de Pierre Drevet auprès des graveurs du XVIIIe siècle est-elle avérée ? La gravure de portrait au burin relève-t-elle de la simple copie ou reproduction ou encore traduction, ou bien s'inscrit-elle dans un processus d'interprétation qui nécessite l'affranchissement des habitudes et des idées reçues et qui requiert le génie de l'artiste ? Le second volume est consacré au catalogue raisonné des estampes de ces trois graveurs. Sont également mentionnées les gravures réalisées par différents élèves de Pierre Drevet, avec son aide, ainsi que les œuvres dont l'attribution aux Drevet est rejetée. Le troisième volume est celui des annexes constituées de documents d'archives, de textes illustrant les notices du catalogue et de dfférentes listes alpabétique et chronologiques de l'œuvre des Drevet ainsi que de reproductions d'œuvres pour comparaison. This thesis presents itself as a monograph of Pierre Drevet, an interpretation engraver (Loire-sur-Rhône, 1663-Paris 1738) and of two of his students, Pierre-Imbert Drevet (Paris 1697-id. 1739) and Claude Drevet (Loire-sur-Rhône, 1697-Paris 1781). It consists of three volumes: the first one has three parts plus an alphabetical and descriptive bibliography and an index of proper nouns. The first part, recals Pierre Drevet's family origins and his apprenticeship years in Lyon and Paris. The second part approches the development of his career in Paris as well as the ones of Pierre-Imbert and of Claude Drevet; its attempts to insert them into the artistic and historical context of the ending XVIIth century and of the XVIIIth century. An analysis of the esthetic of theses engraver's works and the close relationships between painting and interpretation engraving makes the most of the third part together with a study of their “Fortune critique”. Is Pierre Drevet's influence upon the XVIIIth century engravers an established fact? Is portrait engraving just copy or reproduction or even imitation or is it part of a process wich would imply a release from the habits and settled ideas and would require the artist's genius? The second volume includes the descriptive catalogue of the three engraver's works. Also mentioned are various Pierre Drevet's students engravings achieved with his help and also engravings identified as not being Drevet's. The third volume contains supplements: records documents, texts supporting catalogue items and various alphabetical and chronological Drevet's works listings, it includes also engraving reproductions for potential comparison.

En effet, la venue de Nicole Brossard à l'écriture féminine et/ou lesbienne s'est effectuée sous le signe d'un essentialisme stratégique longtemps avant que Stephen Heath et Gayatri Spivak ne popularisent cette expression. Aussi ne peut-on s'intéresser aux points d'intersection entre essence et feintise, dans l'oeuvre brossardienne, sans par la même occasion revenir à cette époque trouble où des sujets feinteurs se disputaient l'arène du féminin, où l'écrivaine refoulait aux limites de l'écriture-femme des sujets hybrides susceptibles de mettre en abyme ses propres im/postures. Aux frontières du féminin tenteront également de passer les écritures et identités lesbiennes, passant tantôt pour autres qu'elles ne sont vraiment, tantôt par cette figure utopique que l'écrivaine prend pour toute femme, pour toute lesbienne. L'idéal brossardien aura d'ailleurs un tel ascendant sur ses contemporaines que même ses contemporains souhaiteront se faire lesbiennes, émulant et défiant l'auteure du Désert mauve tout à la fois, comme nous le découvrirons dans une nouvelle de Patrick Imbert ou seront taraudées les cloisons entre les genres identitaires et scripturaires. Car l'essence s'avère avant tout une question de frontières, de territoires autour desquels se greffent des identités marginales, et au coeur desquels s'imposent des entités dominantes, différenciatrices. Voilà, il est vrai, un tiroir dont les secrets encore aujourd'hui nous résistent où dont plusieurs souhaiteraient perdre la clef, car se cachent au fond de lui d'épineux problèmes d'exclusion, souvent involontaires, causes par une rhétorique essentialiste quelque peu piègée. La philosophe Elizabeth V. Spelman a certes eu raison de déconstruire métaphores et analogies, de démonter les mécanismes de forclusion intrinsèques à ces figures. Mais à tant vouloir franchir des frontières interdites, il arrive que l'on doive non seulement passer pour une autre, mais aussi, avec d'autres, comme nous le démontrera un roman de Marie-Claire Blais. Or, qu'advient-il de l'intention solidaire, lorsque celle-ci se conjugue à des problèmes de légitimité, lorsqu'elle ne saurait admettre certaines relations de pouvoir ou lorsque encore, elle tend à les reproduire? Qui disparait, dans la foulée des emprunts identitaires? (Abstract shortened by UMI.)