Action et Réaction. Vie et Aventures d'un couple by Jean Starobinski
By Jean Starobinski
Pourquoi dans los angeles vie quotidienne, affirme-t-on qu’une state of affairs intolérable appelle une réaction ? remark les biologistes en sont-ils venus à penser les rapports du vivant et du milieu en termes d’interaction ? Pour quelle raison l. a. psychiatrie a-t-elle adopté, il y a un siècle, l. a. catégorie des affections réactionnelles ? Pourquoi le proposal d’abréaction fut-il inventé puis abandonné par los angeles première psychanalyse ? Que veut-on faire entendre, quand on déclare qu’une politique est réactionnaire ? Dire que le totalitarisme nazi fut une réaction au totalitarisme communiste, n’est-ce pas l’excuser ? Le mot « réaction » et ses dérivés offrent leurs companies pour l’explication causale comme pour los angeles compréhension par sympathie. Ils nous viennent à l’esprit quand nous cherchons des réponses à nos problèmes. Or ces mots, précisément, ne font-ils pas problème ?C’est l’occasion pour, Jean Starobinski, d’examiner les filières intellectuelles à travers lesquelles le mot « réaction » et ses dérivés nous sont parvenus. Ce livre remonte au rôle que leur attribua l. a. scolastique, mais aboutit aux interrogations qui entourent aujourd’hui l. a. concept de progrès, sans laquelle l. a. réaction politique ne peut être pensée. Il convoque aussi bien les philosophes (Aristote, Leibniz, Kant, Nietzsche, Jaspers), que les savants (Newton, Bichat, Claude, Bernard, Bernheim, Freud) et les écrivains (Diderot, Benjamin consistent, Balzac, Poe, Valéry).
L’ouvrage est une traversée originale de los angeles tradition occidentale : il éclaire successivement les fondements de l. a. technological know-how et los angeles protestation des poètes, parcourant ainsi les chemins qui conduisent à nos perplexités présentes.
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Additional info for Action et Réaction. Vie et Aventures d'un couple
In a sense, what more need be said? Readers nowadays profess, and evince, difficulty in understanding Incarnation. ” The idea is actually, of course, startlingly simple, although unexpected and iconoclastic. Readers often cannot believe or seem to accept that something so important could be so simple, and as a result of their disbelief they make it difficult—just as we all too often reduce that which is difficult, simplifying so as to enable our grasp. If the matter is utterly easy, we obstruct belief and forestall acceptance because it does not require our effort to bring it to (our) terms.
6 But still, because neither words nor we can be still, responsible reading is hard though not impossible. For all his insistence on being difficult, Eliot wants to be read and to be read well. Toward that end, he tries to help his reader in Four Quartets. In the poem, he asks more than once whether he should repeat, and he also acknowledges that “that” was but one way of saying it. Eliot works hard to make his poem—in his words, describing the critical encounter with the “familiar compound ghost” in “Little Gidding”—“Too strange .
S. Eliot proceeds to a highly charged scene, the “chapel perilous” (The Waste Land) redefined: it is the “sacred” place where King Charles I once prayed, which was not long thereafter laid waste by Cromwell’s Roundheads, and now serves as a figure of the unexpected (“rhymes” sound of the birth in the lowly stable in Bethlehem). ” In the same way, the speaker of “East Coker” clearly and firmly establishes his own spiritual situation or “condition,” where he is, where he would be coming from: in darkness, lacking a firm “foothold,” approaching an abyss, and all the while menaced by enchantments and alluring lights.