Academic literature on the topic 'Diderot, Denis, 1713-1784'
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Journal articles on the topic "Diderot, Denis, 1713-1784"
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Dortier, Jean-François. "Denis Diderot (1713-1784). L'aventure de l'encyclopédie." Sciences Humaines N° Hors-série, HS11 (January 6, 2022): 9. http://dx.doi.org/10.3917/sh.hs11.0009.
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Martin, Christophe. "Denis Diderot (1713-1784). Un si discret génie." Les Grands Dossiers des Sciences Humaines N° 56, no. 9 (September 1, 2019): 7. http://dx.doi.org/10.3917/gdsh.056.0007.
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Piva, Paulo Jonas de Lima. "Elogio à masturbação: materialismo e saúde em Diderot." Cadernos de Ética e Filosofia Política 2, no. 33 (December 20, 2018): 65–78. http://dx.doi.org/10.11606/issn.1517-0128.v2i33p65-78.
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Partindo da premissa ontológica de que a realidade é única e essencialmente matéria e que o ser humano é tão-somente corpo, o filósofo francês Denis Diderot (1713-1784) desenvolveu, sobretudo no decorrer da sua maturidade filosófica, uma ética hedonista, baseada na moderação dos prazeres e na preocupação com a utilidade pública. Simultaneamente eudemonista, essa perspectiva materialista entende a felicidade como um estado psicofisiológico, mais precisamente como uma necessidade orgânica que depende da saúde do corpo que constitui e que consiste no próprio indivíduo. É quando, na sua Continuação da conversa, de 1769, Diderot se faz médico e, de forma inusitada, provoca uma reflexão de alcance ético sobre a masturbação. É desta reflexão filosoficamente heterodoxa e dos seus desdobramentos éticos que trata este artigo.
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Forycki, Maciej. "A new education of women. Denis Diderot’s anatomy course project for young noble women." Biuletyn Historii Wychowania, no. 29 (February 4, 2019): 7–14. http://dx.doi.org/10.14746/bhw.2013.29.1.
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A new education of women. Denis Diderot’s anatomy course project for young noble women.Denis Diderot (1713–1784) explained how women’s education should be different than before. A woman should be considered a citizen, Diderot demanded placing primary social importance on her domestic activity. An interesting feature of this new approach to education of women was to include an anatomy course in their personal development. Denis Diderot did not devote a separate tractate to the issue of women’s education, nor did he write a concise curriculum in anatomy. However, the remarks scattered among various texts by the philosopher concerning that innovative concept allow us not only to reconstruct a fairly cohesive draft of an anatomy course for girls, but also superbly illustrate Diderot’s commitment to realization of his own ideas. Secondly, we need to consider the activities of one Ms. Biheron – the organizer of public anatomy courses – which exerted, as we will see, a huge influence on Diderot’s conviction of the need to incorporate such courses in women’s education. In the last part of the discourse, the involvement of the French philosopher in the educational reforms of Catherine II should be noted. The analysis of Diderot’s texts on education clearly indicates that the philosopher put a strong emphasis on changes in the methods of teaching women. As the director of St. Petersburg facility for girls he managed to partially put his project into effect. Of course, for French philosophers – blind to Russian realities – the unquestionable success of Diderot’s anatomy course might be another argument for the proclamation of the view that Catherine II realized in her country the postulates of the Enlightenment.
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Connon, Derek F., and Dietgard Grimmer. "Die Rezeption von Denis Diderot (1713-1784) in Osterreich zwischen 1750 und 1850." Modern Language Review 85, no. 4 (October 1990): 963. http://dx.doi.org/10.2307/3732708.
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Olszevicki, Nicolás. "¿Ut pictura poesis? relaciones entre pintura y literatura en la teoría estética de Diderot." Alpha: Revista de Artes, Letras y Filosofía, no. 47 (January 2, 2019): 269–77. http://dx.doi.org/10.32735/s0718-220120180004700182.
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El abordaje especulativo de los problemas artísticos realizado por el philosophe Denis Diderot (1713-1784) a lo largo de su carrera, desde sus tempranos Pensamientos filosóficos (1746) hasta El sobrino de Rameau –obra póstuma que fascinó a Goethe– ha sido objeto de estudio de una bibliografía vastísima, algunas de cuyas tesis no dejan de sorprender al estudioso: no tanto por el carácter original o provocativo que presentan sino por el mucho más simple hecho de que, a menudo, suelen contradecirse entre sí.Esto resulta evidente cuando se revisa el modo en que nuestro autor, en consonancia con las preocupaciones epocales, concibe y elabora la relación entre las artes particulares, específicamente, entre la pintura y la poesía. En efecto –y aquí está lo que nos ha llamado la atención en nuestra investigación– críticos e historiadores del arte y de la literatura que han abordado desde una perspectiva histórica y teórica las implicancias del tópico ut pictura poesis en la tradición estética occidental toman frente a Diderot.
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Silva, Fernando Xavier. "O homem racional Versus o homem intuitivo." Filosofia e Educação 11, no. 2 (December 31, 2019): 377–84. http://dx.doi.org/10.20396/rfe.v11i2.8657425.
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Trata-se de uma resenha das obras Sobrinho de Rameau de Denis Diderot (1713-1784), Sobre a Verdade e Mentira no sentido Extra-Moral de Friedrich Nietzsche (1873) e A construção das ciências: introdução à filosofia e á ética das ciências de Gerárd Fourez (1995). Os textos foram lidos com base nas seguintes questões: Quais são as bases de sustentação do conhecimento?; O que é a verdade e se é possível alcançá-la de forma objetiva; O que é a ciência e o que ela representa na busca pela verdade e o conhecimento? e Quais as possibilidades da linguagem na busca pelo conhecimento? Concluiu-se que o que Diderot caracteriza como idiotismo aparenta-se com os valores morais seguidos pelo instinto de rebanho nos indivíduos de Nietzsche. Para Fourez observar é sempre representar e na representação nunca se obtém do objeto sua verdadeira essência. Desconstruir conceitos, apreender o aspecto fluido e mutável das coisas e dos valores, seria essa a linha mestra dos textos tratados neste trabalho.
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Janjic, Milan N. "Didro – politički mislilac." Филолог – часопис за језик књижевност и културу, no. 23 (August 7, 2021): 522–39. http://dx.doi.org/10.21618/fil2123522j.
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Deni Didro (Denis Diderot, 1713–1784) nije napisao politički traktat, ali političke ideje odjekuju u njegovom opusu i mogu se sistematizovati. To su istraživači nastojali da urade kroz pojedinačna teorijsko-kritička razmatranja, kao i kroz ediciju Didroovih političkih spisa sakupljenih u jednoj knjizi, a što su svojevremeno priredili Vernijer (Vernière, 1963) i Versini (Versini, 1995). U ovom radu, nakon teorijskopolemičkog dela, gde se razmatraju dva suprotstavljena pristupa u vezi s tim je li Didro politički stvaralac ili ne, kao i pregleda njegovih osnovnih političkih stavova, prikazaće se sociološko-politička pozadina priče Dodatak Bugenvilovom Putovanju (Supplément au Voyage de Bougainville, 1772). Ova priča je dobra književna ilustracija njegovih glavnih političkih ideja: uzajamni odnos prirode i čoveka, razlika između prirodnih i građanskih zakonâ, poreklo vlasti i pitanje društvene reforme.
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Björkman, Margareta. "Anne Beate Maurseth, Opplysningens sjonglør. Denis Diderot 1713–1784, Oslo: Humanist forlag, 2005. (255 s.)." Sjuttonhundratal 3 (February 18, 2014): 175. http://dx.doi.org/10.7557/4.2889.
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NELSON, G. "Resemblance as Evidence of Ancestry." Zootaxa 2946, no. 1 (July 8, 2011): 137. http://dx.doi.org/10.11646/zootaxa.2946.1.18.
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The Connection between three ideas, resemblance as evidence of ancestry, was made long ago by Denis Diderot (1713–1784), a notable figure of the French enlightenment, the siècle des lumières (Lovejoy, 1904: 325). In 1753 he provided an example of what today is termed “transformational homology” (Patterson, 1982: 36): “If one considers the animal kingdom, and particularly the mammals, there is not one that lacks the functions and the parts, particularly internal ones, that are entirely similar to the others; so much so that it is easy to believe that there was a first prototype for all of them, for which nature merely elongated, shortened, transformed, multiplied, or obliterated certain organs. Imagine the fingers of the hand united, and the substance of the nails so abundant that it extends over the whole; then in place of the hand of a man, you have the foot of a horse.”
Dissertations / Theses on the topic "Diderot, Denis, 1713-1784"
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Marchal-Ninosque, France. "La culture de Denis Diderot." Paris 4, 1997. http://www.theses.fr/1997PA040249.
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Ces travaux de doctorat se veulent une enquête sur les sources tant écrites qu'orales qui ont pu façonner la culture de Diderot et ont fait de lui un humaniste du siècle des Lumières. Son éducation chez les jésuites puis en Sorbonne, ses recherches pour l'Encyclopédie, ses contacts dans les divers salons qu'il a fréquentés - cercles de la finance, cercles éclairés, milieux matérialistes ou gagnés 0 la franc-maçonnerie -, ses lectures pour la correspondance littéraire de son faux ami Grimm, son voyage en Hollande, sa curiosité jamais démentie pour tout ce qui vient d’Europe et ce qui a trait aux civilisations, l'ont autant formé que son amour pour l'antiquité. Médecins et savants, artistes et littérateurs : la réalité dans son ample diversité l'a arrêté. Son œuvre semble une réconciliation de la querelle des anciens et des modernes, en même temps qu'une réconciliation de l'humanisme et du matérialisme. Une œuvre marquée par le génie et le paradoxe, une pensée enquêtant et curieuse, un esprit altruiste, voilà les marques d'une cultureThis thesis would like to be an inquiry upon the sources -as well orals than written - that have built Diderot's culture and given him the will to become an humanist of enlightenment. His studies with Jesuits, then, at the Sorbonne, his works for the Encyclopedie, his contacts in salons, his readings for Grimm's correspondence literary, his travel in Holland, his intense interest for Europe and every civilization have formed him as well as his attachment to the antiquity. His work is as the end of ancients and moderns ‘quarrel, as well as it is a reconciliation between materialism and humanism
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Kim, Tai-Hyung. "La technique romanesque de Diderot." Toulouse 2, 1994. http://www.theses.fr/1994TOU20064.
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Crouzet, Mary-Emilie. "Suzanne Simonin, figurine de l'individuel étude sémiotique de la "Religieuse" de Denis Diderot." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37596897x.
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Langbour, Nadège. "Diderot écrivain critique d'art." Rouen, 2007. http://www.theses.fr/2007ROUEL577.
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La thèse intitulée « Diderot écrivain critique d'art » met en évidence les interactions entre les écrits sur l'art de Diderot et ses œuvres littéraires. Présentant dans un premier temps la formation artistique de Diderot, elle répertorie les lectures effectuées par le salonnier et souligne l'importance de l'Encyclopédie dans la constitution de ses réflexions artistiques. Sont ensuite étudiés les neuf Salons de Diderot et ses deux « essais sur la peinture ». Montrant tout d'abord comment Diderot se positionne par rapport au discours artistique de son temps, cette thèse met ensuite l'accent sur l'originalité des Salons, tant sur les plans thématique et théorique que sur le plan formel. Enfin est analysée l'influence des réflexions picturales de Diderot sur ses œuvres romanesques et dramatiquesThis thesis entitled, « Diderot seen as an art critic », highlights the interactions of Diderot's writings on art and his literary works. Firstly, Diderot's artistic formation is presented, with an exhaustive repertoire of readings made by this noted « Salon » art critic and emphasizes the major role of the Encyclopaedia in the shaping of his artistic opinions and judgments. The following sequence examines in depth Diderot's nine « Salons » as well as his two « essays on painting ». At the outset, Diderot's status (position) is perceived in relationship with the artistic way of thinking (reasoning) of his time. The thesis then emphasizes the originality of the Salons, both on a thematic and theoretical level as well as on the formal level. The last section is an analysis of the influence of Diderot's pictorial judgements on his novels and plays (Romanesque and dramatic works)
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Queudot, Marie-Florence. "La théâtralité des dialogues chez Diderot." Paris 4, 1991. http://www.theses.fr/1990PA040132.
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Les dialogues de Diderot (Le neveu de Rameau, Jacques le fataliste, Mystification, Ceci n'est pas un conte, Madame de la Carlière, Le supplément au voyage de Bougainville, l'entretien entre d'Alembert et Diderot, le rêve de d'Alembert, la suite de l'entretien, l'entretien d'un père avec ses enfants, l'entretien d'un philosophe avec la maréchale***) n'ont pas été écrits pour la scène. Le succès qu'ils rencontrent aujourd'hui au théâtre pose la question de leur théâtralité. L'analyse des éléments de structure du dialogue (action, temps et lieu), met en évidence une multiplication du spectacle : les personnages assurent tous le triple rôle de metteur en scène, auditeur et acteur, dans un espace propice à la circulation des fonctions, un hors-lieu et un hors-temps proches de la dramaturge contemporaine. L'étude du geste et des rapports qu'il entretient avec la parole, l'analyse des répliques courtes et des tirades, montrent une stylisation de l'écriture au service de l'enchainement dynamique du dialogue. Enfin, le style des échanges n'est pas seulement dynamique, il est dramatique : les personnages s'émeuvent et s'affrontent, le rire même met en relief une lutte de l'individu qui, dans ses divers rôles et sous ses multiples masques, assiste à la comédie de sa propre existence. La théâtralité est inhérente aux dialogues car elle appartient à la philosophie de Diderot : le dialogue est un sommet de sa recherche et non un artifice littéraireDiderot's dialogues (Le neveu de Rameau, Jacques le fataliste, mystification, ceci n'est pas un conte, madame de la Carliere, le supplement au voyage de Bougainville, l'entretien entre d'Alembert et Diderot, le role de d'Alembert, la suite de l'entretien, l'entretien d'un père avec ses enfants, l'entretien d'un philosophe avec la marechale de…) were not written to be produced as plays, and their present success makes us wonder about the nature of their dramatic qualities. An analysis of their structural elements (action, time, place), reveals a multi-layered dramatic effect, in a world in which the protagonists are the producer, the listener and the actor. The temporal and physical space permits a movement within these three dramatic functions, within a "no-time" very similar to these in contemporary twentieth century theatre. Gesture and its relationship with the speech, the sort lines and the tirades of diderot, are the proof of the stylization of his writing, go achieve a dynamic linking of the dialogue , in fact the style is not only dynamic but at the same time dramatic : the dramatic characters experience emotions and clash with each other verbally. Even laugther emphasizes the inner conflict of each individual ; in his different roles and multiple masquerades, he witnesses the playing out of his own existence. The dramatic qualities of diderot's texts form an essential element of the dialogues, because these qualities are part of his philosiphy. Dialogue is an element in his philosophical quest and not a mere literary artifice
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Fiaschi, Pascal. "Enfer et Damnation dans l'oeuvre de Diderot." Paris 4, 2003. http://www.theses.fr/2002PA040238.
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Partant des travaux de Blake T. Hanna sur la formation théologique de Diderot, nous examinons à la fois les motifs de l'antichristianisme diderotien et les sources religieuses de cette polémique. L'eschatologie, notre domaine d'étude, hypothèque des réflexions dogmatiques sur le péché originel, la providence et la grâce. Du point de vue référentiel, place est faite à la théologie augustinienne qui fait florès dans les productions jansénistes. Notre analyse est sans doute atypique, puisqu'elle se fonde sur une collation de fragments ou de notices encyclopédiques. Elle nous permet cependant d'évoquer des productions mal connues du philosophe et de relire les plus célèbres sous un angle nouveauUsing as a starting-point Blake T. Hanna's research on Diderot's theological training, we proceed to examine both the recurring motifs of Diderot's anti-christianity and the religious sources of this polemic. Eschatology, our field of study, informs dogmatic reflections on original sin, Providence and grace. Referentially, we draw on Augustinianism, which pervades the works of Jansenists. Since it is based on a collation of fragments or entries in l'Encyclopédie, our analysis is doubtless atypical and somewhat narrow in scope. However, it enables us to address some of the lesser-known output of our philosopher and to revisit his most famous works from a new perspective
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Déan, Philippe. "Diderot devant l'image." Paris 7, 1995. http://www.theses.fr/1995PA070154.
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L'entreprise de connaissance critique des images developpee par diderot s'est accomplie en mettant en oeuvre un principe de contradiction entre le projet de savoir theorique et de la pratique critique ou interpretative des peintures telle qu'elle se donne a lire dans les salons. Prenant son depart dans une pensee du signe qui privilegie le realisme pictural, la science iconologique de diderot cherche a etablir la cricularite des notions d'imitation et de signification, de lisible et de visible faisant recours au mythe des origines figurees du langage qui a pour nom "hieroglyphe". Cependant un tel cadre conceptuel se trouve contredit par la pratique d'ecriture des images qui decouvre une tension entre voir et savoir, entre lisibilite et visualite des images parce qu'intervient, dans la relation a l'image, la dimension du fantasme et l'economie d'un desir. Dans la relation a l'image, sujet et objet echouent a se stabiliserDiderot's project of a critical knowledge of pictures has developped through a contradiction between its theoretical framework and the interpretative praxis of paintings in les salons. The iconologic thought of diderot identifies the image with an iconic sign and favours figurative realism. It establishes the interdependance of notions such imitation and signification, legibility and visibility and its conceptual basis originates in a fable of the visual origin of language which produces a specific sign pattern called "hieroglyph". However these theories associate their negative counterpart because diderot's creative writing reveals a tension between legibility and visuality, knowing and seeing. Facing the image in an imaginary and fantasmatic relation, the subject of writing is caught up in a dialectic of desire and the image's signification is constantly deferred
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Kim, Eun-Sook. "La forme épistolaire et le dialogique chez Diderot : étude sur destinateur-destinataire dans Le Salon de 1765." Paris 3, 1990. http://www.theses.fr/1991PA030026.
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Denis diderot a dit: "on est cense converser librement dans une lettre". Cette parole nous conduit a etudier le sens du mot "conversation" particuliere a diderot. Car la conversation, dans son acception habituelle, ne peut pas s'instaurer dans une seule lettre, mais par un echange de lettres entre deux personnes au moins. Afin d'etudier le sens de la "conversation", nous prenons comme corpus le salon de 1765, l'oeuvre ecrite sous une forme epistolaire. Le salon de 1765 est une lettre dialogique qui contient non seulement la 'voix' du 'je' -ddestinateur, mais celle du 'vous' -destinataire. Bien que le 'je' y parle apparemment tout seul, nous y entendons la 'voix' interne du 'vous' lorsque le 'je' anticipe les pensees du 'vous' et desire le persuader de ses opinions. Ces efforts de l'anticipation ou de la persuasion temoignent d'une certaine influence du 'vous' sur l'ecriture de la lettre. Le salon de 1765 est donc produit par les influences reciproques entre les deux 'vouloir dire' du 'je' et du 'vous'. Elle est ecrite a la fois par le 'je' destinateur et par le 'vous' -destinataire. Dans cette perspective, la "conversation" s'instaure dans le salon de 1765. Elle est la "conversation" entre l'auteur et ses lecteurs virtuels, celle-ci se renouvelant a chaque lectureOur thesis laies interest on the "conversation" that is so called as done in the letter of the writer. How any "conversation" can be made in a piece of letter writter by one person? to answer this question, we choose salon de 1765, a work of letter style of diderot, as the subject of study. Though salon de 1765 is written by 'i' -addresser, from start to end, the figure of 'you' - addressee is pressed on the letter. 'i', already, at the moment, come to feel appearance, response of 'you', and hear the 'voice' of his partner. This inner 'voice' of 'you', sounding in the letter, has influence on the letter-writing of 'i'. 'you', the addressee, cannot be a passive destination where the letter is to be arrived. He comes under a participation into letter-writing by reading the letter. Like this, the meaning of salon de 1765 depends, at the same time, on two 'signify' of 'i' and 'you'. Salon de 1765 is made upon the hidden dialogue between 'i' and 'you'. In this point of view, the letter-salon de 1765 is the "conversation" between the writter-addresser and the potential readers-addressee, the "con- versation" made by writing and reading
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Cammagre, Geneviève. "La notion de sujet dans la correspondance de Diderot." Toulouse 2, 1993. http://www.theses.fr/1993TOU20032.
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La notion de sujet telle qu'elle s'élabore dans la correspondance de Diderot, à un moment de l'histoire de la subjectivité marque par la mise en question du sujet cartésien, par l'émergence d'une nouvelle discipline nommée psychologie et par l'invention de modes d'écritures personnels, impose quatre champs de réflexion. D'abord l'inscription du nom propre, réalisation d'un sujet normal, construit, dans des lettres privées destinées à un plus vaste public, un itinéraire de réconciliation avec la loi paternelle. Ensuite la question philosophique de l'identité, qui parcourt toute l'œuvre, trouve dans la correspondance des éléments originaux de réponse : délimitation d'une singularité, permanence de soi à travers la discontinuité des états. De plus la connaissance de soi abordée, notamment dans les lettres à Sophie Volland, non par l'analyse introspective, mais par une enquête expérimentale sur le désir, la fidélité, la sincérité. . . Impliquant le destinataire. S'ajoute enfin l'intersubjectivité, inlassable tentative d'annexion de l'autre dont les impasses conduisent l'épistolier à se constituer lui-même en objet de fictionDiderot developed the notion of subject in his correspondence even as the concept of Cartesian subject was being questioned. A new discipline - psychology - was emerging, together with original modes of personal writing. That turning point in philosophical and literary history provides four main fields for investigation. First, in private letters meant for posterity Diderot claims to be morally exemplary. That emphasis on moral exemplarity underlies his quest for reconciliation with the father figure. Then, in his correspondence, Diderot comes up with original elements of answers to the philosophical question of identity, which runs throughout his works as a whole. Delimitating his singularity and achieving permanence of the self through discontinuous states of consciousness are among the solutions he puts forward, besides, as witness his letters to Sophie Volland, Diderot does not approach the problem of self-knowledge through introspective analysis. Instead, he carries out experimental investigations into desire, faithfulness, sincerity. . . Involving the recipient of his letters in the process. Finally the question of intersubjectivity will be examined as the letter-writer is led to turn himself into a fictional character after his untiring attempts to annex the other have come to a deadlock
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Cabane, Franck. "L'écriture en marge dans l'œuvre de Diderot." Paris 7, 2004. http://www.theses.fr/2004PA070051.
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On peut constater que Diderot a composé des commentaires étoffés en marge de certains ouvrages philosophiques, ceux d'Helvétius et d'Hemsterhuis en particulier, qu'il a aussi multiplié les additions en marge de ses propres écrits et développé des annotations marginales dans plusieurs textes, par exemple dans sa traduction de l'Inquiry de Shaftesbury. Si des études locales ont été proposées sur ces sujets, aucune étude d'ensemble n'a été jusqu'à maintenant engagée. Le présent travail se donne pour but de dégager les lignes de partage et les points de cohérence de l'écriture marginale de Diderot à partir d'un corpus qui rassemble une partie importante de sa production, dans les domaines linéraire, philosophique et encyclopédique, et qui couvre une période historique large, qui va de la publication de "l'essai sur le mérite et la vertu" en 1745 à "l'essai sur les règnes de Claude et de Néron" en 1782 - jusqu'aux ultimes retouches de l'opus en 1784. L'examen porte autant sur le seuil ou les seuils des ouvrages de Diderot que sur les éléments d'expansion et de discontinuité qui sont mis en travail dans son opus. Nous avons analysé divers aspects de l'écriture marginale : tracé de l'écriture, poétique des marginalia, écritures philosophiques croisées, travail à double main aux confins de "l'Encyclopédie", déclinaisons additionnelles et pratiques, à tous égards emblématiques, du supplément. De l'examen du seuil de l'œuvre à l'analyse de sa mobilité interne et externe, mixte d'expansion et de discontinuité, nous avons tenté d'éclairer les moments importants de captation de la pensée des autres et les aspects majeurs de la reprise interne de textes déjà formés. Diderot écrit en marge des autres mais il écrit aussi en marge de lui-même, pour jouer au fond des limites du même et de l'autre qui se retrouvent et se fondent dans une forme singulière d'athéisme qu'Emmanuel Levinas définissait comme «absolu épuré de la violence du sacré»It is widely known that Diderot wrote extended comments in the margin of the pages of philosophical works, notably those by Helvetius and Hemsterhuis. He also appears to have done the same with his own writings, his translation of Shaftesbury's "lnquiry" being one example. Although occasional studies of these marginal notes exist, no comprehensive overview has been overtaken until now. The present work addresses the detail and the essence of Diderot's marginal note-writing. Based on a corpus encompassing the major pan of his written work, in domains ranging from the literary and the philosophical to the Encyclopaedic, it covers the period from 1745 when the "Essai sur le mérite el la vertu" was published, to 1782 which saw the publication of the "Essai sur les règnes de Claude et Néron", until 1784 when he completed the corrections he was making to his own work. Emphasis is placed on the accessibility of Diderot's work, most particularly on development and rupture. The characteristics of the marginalia in manuscripts identified as being in the author's own hand have been analysed particularly his commentaries on the works of contemporary philosophers, the co-authored writing for the “Encyclopédie" and the "supplement", and finally his own miscellaneous variations. The aim of the study is to assess the construction of Diderot's work from its beginnings. Borrowings, transformations of the works of other: authors are recognised and studied. The relentless interplay between old and new work, his own and that of others, is highlighted. Diderot wrote in the margin of both his own work and that of others. He sought to find their limits and his own. The conclusions he drew led him towards a singular form of atheism characterised by Emmanuel Levinas as the "transparent violence of the sacred"
Books on the topic "Diderot, Denis, 1713-1784"
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Maurseth, Anne Beate. Opplysningens sjonglør: Denis Diderot, 1713-1784. Oslo: Humanist, 2005.
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Furbank, Philip Nicholas. Diderot: A critical biography. London: Secker & Warburg, 1992.
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Furbank, Philip Nicholas. Diderot: A critical biography. New York: A. A. Knopf, 1992.
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Grimmer, Dietgard. Die Rezeption von Denis Diderot (1713-1784) in Österreich zwischen 1750 und 1850. [Salzburg]: Institut für Romanistik der Universität Salzburg, 1988.
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Brewer, Daniel. The discourse of enlightenment in eighteenth-century France: Diderot and the art of philosophizing. Cambridge [England]: Cambridge University Press, 1993.
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Rex, Walter E. Diderot's counterpoints: The dynamics of contrariety in his major works. Oxford: Voltaire Foundation, 1998.
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Diderot, Denis. Two plays by Denis Diderot: The illegitimate son and The father of the family. New York: Peter Lang, 2011.
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1941-, Göranzon Bo, ed. Skill, technology, and enlightenment: On practical philosophy. London: Springer-Verlag, 1995.
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1941-, Jüttner Siegfried, and Universität Duisburg, eds. Présence de Diderot: Internationales Kolloquium zum 200. Todesjahr von Denis Diderot an der Universität-GH-Duisburg, vom 3.-5. Oktober 1984. Frankfurt am Main: P. Lang, 1990.
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Anderson, Wilda C. Diderot's dream. Baltimore: Johns Hopkins University Press, 1990.
Find full textBook chapters on the topic "Diderot, Denis, 1713-1784"
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Krebs, Roland. "Diderot, Denis (1713–1784)." In Goethe Handbuch, 206–8. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03655-1_67.
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Groenewegen, Peter. "Diderot, Denis (1713–1784)." In The New Palgrave Dictionary of Economics, 2866–67. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_658.
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Groenewegen, Peter. "Diderot, Denis (1713–1784)." In The New Palgrave Dictionary of Economics, 1–2. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_658-1.
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Baggioni, D. "Diderot, Denis (1713–1784)." In Encyclopedia of Language & Linguistics, 583. Elsevier, 2006. http://dx.doi.org/10.1016/b0-08-044854-2/02536-0.
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"XXVIII. Monographischer Diskurs: Denis Diderot (1713-1784)." In Faszination Zarathushtra : Zoroaster und die europäische Religionsgeschichte der frühen Neuzeit. Berlin, Boston: De Gruyter, 1998. http://dx.doi.org/10.1515/9783111372341-010.
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Diderot, Denis. "Clarity Against Dogmatic Superstition." In The Many Faces of Philosophy, 233–44. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195134025.003.0019.
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Abstract Denis Diderot (1713–1784) was the driving spirit behind the Enlightenment project of the Encyclopédie des arts et sciences (1751–65, 1780). With D’Alembert, he deffined the topics and selected the authors of that immensely influential work. The underlying thesis of the Encyclopédie was practice oriented. The technology of the crafts and trades was treated as the sound beginning of \scientific understanding. A polymath, Diderot also wrote literary and art criticism (Discourse on Dramatic Poetry, 1758); Essais sur la Peinture and Salons (1739–1781) as well as essays in the natural sciences (Elements of Physiology, 1774–80) and On the Interpretation of Nature (1745). He was briefly imprisoned for his attack on Christianity (The Skeptics’ Walk, 1747) and for the materialism of his Lucretian essay, Letter on the Blind (1749). Although early commentators treated Diderot’s ironic dialogues, Rameau’s Nephew (1767) and Jacques the Fatalist (1765–1784), as brilliant examples of Romanticist psychology, recent literary critics have interpreted them as deconstructivist satire.
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Headrick, Daniel R. "Storing Information : Dictionaries and Encyclopedias." In When Information Came of Age. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195135978.003.0007.
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Encyclopedias and dictionaries are the workhorses of culture; almost everyone consults them from time to time, but almost no one studies them. These useful compendia of knowledge serve their purpose for a few years and then are shelved or pulped. There are some notable exceptions to this rule, works whose significance transcends the time in which they appear. The most famous example of these is the Encyclopédie, ou dictionnaire raisonné of Diderot and d’Alembert. Denis Diderot (1713 – 1784) was one of the most prolific critics and essayists of the philosophes and a star of the French Enlightenment. His friend Jean Le Rond d’Alembert (1717 – 1783) was a mathematician, astronomer, and science writer. Together, they organized and edited the most ambitious work of their age. They planned it to be a universal compendium of all knowledge, organized in a coherent manner for the edification and enlightenment of the educated reading public. At the same time, they wanted it to be useful, practical, modern, and up-to-date. Despite its steep price, it enjoyed a huge popular success and became one of the best-selling works of the century. Yet it left a poor legacy. Its sequel, the Encyclopédie méthodique, was a commercial and scientific failure that few people bought at the time and hardly anyone has looked at since. Today, intellectuals pay lip service to the original Encyclopédie, but no one goes out and buys a new edition. Contrast this fate with that of two other encyclopedias that appeared a few years after Diderot and d’Alembert’s: the Encyclopaedia Britannica and the Brockhaus. The first edition of the Britannica, which appeared in 1771, was a modest work, hastily put together by a printer, an engraver, and a penurious scribbler. The German Conversations-Lexicon was the creation of the publishing entrepreneur Friedrich Arnold Brockhaus (1772–1823), who bought up an unfinished encyclopedia, hired writers to complete it, and issued the first edition in 1809 – 1811. These were no masterpieces of erudition or compendia of all knowledge, but simple reference works.