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Beauvoir and Sartre as Public Intellectuals in 2022 2022年波伏娃和萨特作为公共知识分子
Pub Date : 2022-12-01 DOI: 10.1353/mln.2022.0066
W. McBride
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引用次数: 0
Pawning the Rose: The Fiore, the Economy of Objects, and the Translation of Debt 典当玫瑰:Fiore,物品经济,以及债务的转换
Pub Date : 2022-12-01 DOI: 10.1353/mln.2022.0070
Filippo Petricca
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引用次数: 0
Kant, Existentialism, and the Anthropic Principle 康德,存在主义与人择原理
Pub Date : 2022-12-01 DOI: 10.1353/mln.2022.0068
William Egginton
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引用次数: 0
Special Dossier: The New Politics of Existence 特别档案:生存的新政治
Pub Date : 2022-12-01 DOI: 10.1353/mln.2022.0063
William Egginton, Yi-Ping Ong
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引用次数: 0
On Authenticity and the Concept of the Public in Kierkegaard and Heidegger 论克尔凯郭尔与海德格尔的真实性与公众概念
Pub Date : 2022-12-01 DOI: 10.1353/mln.2022.0065
Yi-Ping Ong
commentaries
评论
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引用次数: 0
“Wait a Minute”: Reflections on [the] Pause “等一下”:关于停顿的思考
Pub Date : 2022-12-01 DOI: 10.1353/mln.2022.0074
B. Herzogenrath
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引用次数: 0
Unknotted, Derailed, Realigned 解开,脱轨,重新组合
Pub Date : 2022-12-01 DOI: 10.1353/mln.2022.0073
Rita Felski
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引用次数: 0
The Night Itself: Blanchot, Descartes 夜本身:布朗肖,笛卡尔
Pub Date : 2022-09-01 DOI: 10.1353/mln.2022.0058
W. S. Allen
Abstract:Maurice Blanchot’s first novel, Thomas l’Obscur , contains a very intense episode in which the protagonist encounters the night. Close attention to the language and development of this episode indicates a proximity to Descartes’ method of scepticism. However, Blanchot significantly extends and suspends Descartes’ method, which leads to a reconfiguration of thought itself in such a way that it places in question the notions of sameness and difference as well as the relation of thought to literature and existence.
摘要:莫里斯·布朗肖的第一部小说《黑暗的托马斯》包含了主人公与黑夜相遇的一个非常激烈的情节。对这一情节的语言和发展的密切关注表明,它接近于笛卡尔的怀疑主义方法。然而,布朗肖极大地扩展和悬置了笛卡尔的方法,这导致了思想本身的重构,从而质疑了同一性和差异性的概念,以及思想与文学和存在的关系。
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引用次数: 0
Pleasure Unthought in Translation 翻译中无意识的快乐
Pub Date : 2022-09-01 DOI: 10.1353/mln.2022.0054
C. Shread
Abstract:Building on fifteen years translating Catherine Malabou’s thought from French to English, this article pursues my exploration of her signature plasticity within translation studies. It reflects on the ways Malabou draws on art to name plasticity, as a new thought that emerged for her in philosophy. Her recent book Le Plaisir effacé. Clitoris et pensée (2020) considers what to do with that which remains unthought precisely because it is unseen. Now that contemporary art is at last making the clitoris visible, offering it representation, I ask, does Malabou’s philosophical analysis offer a new art of clitoridean translation?
摘要:本文以Catherine Malabou的法文翻译思想为基础,从翻译研究的角度探讨她的签名可塑性。它反映了马拉布利用艺术来命名可塑性的方式,这是她在哲学中出现的一种新思想。她最近的书《和平》(Le Plaisir effacess)。《阴蒂与郁闷》(2020)考虑了如何处理那些未被思考的东西,正是因为它是看不见的。现在,当代艺术终于使阴蒂可见,并为它提供了表现,我问,马拉布的哲学分析是否提供了一种新的阴蒂翻译艺术?
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引用次数: 0
Quand on n’a que le discours: Réflexions sur la forme 当我们只有话语时:对形式的反思
Pub Date : 2022-09-01 DOI: 10.1353/mln.2022.0048
C. Malabou
Abstract:Les rapports entre philosophie et art ont pris un tour nouveau à la fin du XXe siècle après les événements historiques traumatiques qu’ont été la Shoah et toutes les formes de totalitarisme qui en ont été les contemporaines. L’art, selon Lyotard et Rancière, se devrait de trouver une forme d’expression de ces traumatismes, dans la mesure où le logos philosophique serait incapable de faire droit aux discours des victimes. Cette expression est-elle de l’ordre de la représentation ou de l’imprésentable ? Nous tenterons ici de montrer qu’une telle question a aujourd’hui perdu sa pertinence.
摘要:哲学和艺术之间的关系在20世纪末有了一个新的转变,在大屠杀的创伤历史事件和所有形式的当代极权主义之后。根据Lyotard和ranciere的说法,艺术应该找到一种表达这些创伤的方式,因为哲学的逻各斯无法公正地对待受害者的话语。这种表达是代表的还是不体面的?在这里,我们将试图表明,这个问题现在已经失去了相关性。
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引用次数: 0
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