Philosophy and Film

In the film and play Twelve Angry Men Juror 8 confronts the prejudices and poor reasoning of his fellow jurors, exhibiting an unwavering capacity not just to formulate and challenge arguments, but to be open-minded, stay calm, tolerate uncertainty, and negotiate in the face of considerable group pressures. In a perceptive and detailed portrayal of a group deliberation a 'wheel of virtue' is presented by the characters of Twelve Angry Men that allows for critical thinking virtues and vices to be analysed in context. This article makes the case for 1) the film being an exceptional teaching resource, and 2), drawing primarily on the ideas of Martha Nussbaum concerning contextualised detail, emotional engagement, and aesthetic distance, its educational value being intimately related to its being a work of fiction.

In his film Hable con Ella (2002) Pedro Almodóvar features the character of Benigno, a nurse who is in permanent charge of Alicia, a young patient in a persistent vegetative state. Benigno talks continuously to Alicia. Almodóvar wants the audience to be torn between diagnosing insanity and rationality; and obtains his result in equipping Benigno with good arguments supporting his behaviour. I try to show that Benigno’s “talking to her” is not less reasonable than the doctors’ treating Alicia, since both acts can be found to be grounded in the same kind of Pascalian wager concerning the possibility of Alicia’s awakening.
Benigno also loves Alicia, and rapes her. Again, Almodóvar supply the audience with conflicting moral arguments, and tempts it to arrive at this frightening conclusion: Benigno may be not guilty. In fact, as an individual whose higher-brain is apparently dead, Alicia has lost forever her capacity to be conscious. If such capacity is constitutive of being a person, then Alicia properly is an ex-person – just as any dead body is. Since ex-persons cannot be harmed or wronged, it seems we cannot say that Benigno either harms or wrongs Alicia. May be we cannot even say that he rapes her, since the concept of rape may not apply to non-persons. But do all our moral feelings align with these conclusions? Indeed rival rational arguments seem to contrast them too. Almodóvar tries to render acceptable the idea of both moral condemnation and innocence of Benigno, and the film actually is a rational, open ethical discussion where opposite arguments collapse.

[AMAZON LINK BELOW TO BOOK ITSELF -- TOC and book summary in downloadable .doc]      Our instincts—for food, sex, or territorial protection— evolved for life on the savannah 10,000 years ago, not in today’s world of densely populated cities, technological innovations, and pollution. We now have access to a glut of larger-than-life objects, from candy to pornography to atomic weapons—that gratify these gut instincts with often-dangerous results. Animal biologists coined the term “supernormal stimuli” to describe imitations that appeal to primitive instincts and exert a stronger pull than real things, such as soccer balls that geese prefer over eggs. Evolutionary psychologist Deirdre Barrett applies this concept to the alarming disconnect between human instinct and our created environment, demonstrating how supernormal stimuli are a major cause of today’s most pressing problems, including obesity and war. However, Barrett does more than show how unfettered instincts fuel dangerous excesses. She also reminds us that by exercising self-control we can rein them in, potentially saving ourselves and civilization.

From A New Hope to The Rise of Skywalker and beyond, this book offers the first complete assessment and philosophical exploration of the Star Wars universe.

Lucasfilm examines the ways in which these iconic films were shaped by global cultural mythologies and world cinema, as well as philosophical ideas from the fields of aesthetics and political theory, and now serve as a platform for public philosophy. Cyrus R. K. Patell also looks at how this ever-expanding universe of cultural products and enterprises became a global brand and asks: can a corporate entity be considered a “filmmaker and philosopher”?

More than any other film franchise, Lucasfilm's Star Wars has become part of the global cultural imagination. The new generation of Lucasfilm artists is full of passionate fans of the Star Wars universe, who have now been given the chance to build on George Lucas's oeuvre. Within these pages, Patell explores what it means for films and their creators to become part of cultural history in this unprecedented way.

Critics of semiology, and of Christian Metz's work in particular, often alleged that he was not a cinephile, that he had no interest in films (since he hardly ever analyzed a film), and that semiologists like Metz were putting aside everything that made cinema an art and a source of aesthetic pleasure. In short, Metz was frequently attacked for being indifferent to film as an aesthetic artefact. This chapter seeks to develop a more nuanced view by examining the place that the aesthetic occupies in Metz's intellectual trajectory as well as its links with semiology. This place can be divided, broadly speaking at least, into three 'sites' between which the aesthetic moves: expressiveness, stylistics, and poetics.

In the distant future, a thousand years after "The Seven Days of Fire"—the holocaust that rapacious
industrialization spawned—the earth is a wasteland of sterile deserts and toxic jungles that threaten the
survival of the few remaining human beings.  This is the world of Hayao Miyazaki's film, Nausicaä of the
Valley of the Wind.  In this film, Miyazaki offers a vision of an alternative to the violent quest for dominion
that has brought about this environmental degradation, through the struggle of the young princess of the
Valley of the Wind, Nausicaä. As a messianic figure, I contend the shojo Nausicaä offers a beneficial
estrangement from common conceptions of the gospel and opens up the ecological significance of Christ's
message of non-violence. Exploring the ecological and pacific aspects of the gospel through this figure, I
argue, may provide a helpful lens for examining our own distorting visions in this age of war and
environmental crisis.

This paper examines the conflicts between Kirk and Spock's ethical perspectives in Star Trek:  Into Darkness.  It is argued that the overall message of the film can be understood as a critical analysis of the advantages and disadvantages of the feminist ethics of care.  In the end, the film suggests that while there is value to an ethics of care perspective, this moral view is insufficient on its own, and should be melded with more traditional and impartial "male" perspectives.

This paper will explore the Showtime series Dexter in relation to Lee Edelman’s analysis in No Future of the conflation of homosexuality with what he calls “sinthomosexuality” – a social symptom that serves to maintain the consistency of heteronormativity – in order to explore the potentially queer dimensions of the character of Dexter Morgan. And so, where – for example – his father realises that, from an early age, Dexter isn’t like the other boys; where Dexter is presented as uninterested in the opposite sex, asexual even; and where Dexter declares, “the future has never been kind to people like me”, I will attempt to draw out the queerness of the character through, for instance, an examination of Edelman’s analysis of the characterisation of homosexuality as a “culture of death”. I will argue that Dexter embodies both Edelman’s “future-negating queer” and the social order that seeks to contain or destroy this queer. And moreover, I will suggest that, just as Dexter’s father sought to channel his son’s “dark urges” to a “socially beneficial” end – training him to become a serial killer that only targets other serial killers – so too does the programme itself seek to contain or control Dexter’s disruptive, queer potential by offering him normalising roles such as “husband” and “father”, which – nonetheless – never quite seem to fit. This paper will aim to demonstrate, therefore, that – in a gesture that could be interpreted as either high satire or grand “reproductive futurism” – Dexter is both sinthomosexual and “sinthomocidal”: radical negativity turned back on itself and against itself, a serial killer in the service of Eros. This will be achieved through my approach to Dexter, via Edelman, which will attempt to show how Dexter is indeed a “gravedigger of society” in a manner more complex than initially signified by François Abadie’s homophobic outburst in Le Nouvel Observateur.

This paper will explore the significance of Slavoj Žižek to the field of film-philosophy. Cinema is of course central to Žižek’s thought; my aim is, correlatively, to assert the centrality of Žižek to the project of thinking philosophy and film together. While, for reasons to do with the history of film theory, Žižek is rarely discussed explicitly in the context of film-philosophy, it is my contention that Žižek’s work both embodies a film-philosophical discourse – in the sense delineated by Robert Sinnerbrink as constituting a “mutually transformative encounter” between film and philosophy (2010: ix) – and further gives rise to possibilities for developing such an encounter in our own research.
This I intend to demonstrate by proposing a new way of conceptualising the relation between theory and the moving image: as a Žižekian “film-philosophy parallax”, whereby the seemingly incommensurable perspectives of screen media and abstract thought are understood as speculatively identical (as in the two apparent “sides” of a Möbius strip, which nonetheless form a single loop). Engaging with Žižek thus requires a dialectical understanding of the relation between film and philosophy, where an idea must pass through the filmic example in order to be thought, and various films – having passed through the idea – can be considered “philosophical”. I will explore this in relation to a number of Möbius-like films – such as La Jetée (Marker, 1962) and Lost Highway (Lynch, 1997) – in order to consider “another case of parallax where the two elements can never meet precisely because they are one and the same element in two different spaces” (Žižek 2006: 159). In sum, where Žižek famously claimed in The Pervert’s Guide to Cinema (Fiennes, 2006) that, “In order to understand today’s world, we need cinema, literally”, I equally claim that, in order to understand film-philosophy today, we need Žižek.

This paper was originally written in 2005 for a conference and book. It was revised in 2009, but it was not in the end accepted for publication. I surmise that this was because it was too critical of Cavell rather than for any scholarly deficiencies. A shorter version of this essay was published as “Hitchcock and Cavell” in the Journal of Aesthetics and Art Criticism 64, Number 1 (Winter 2006), Special Issue on Film as Philosophy. However, this version did not include what I considered the key final section of the essay for reasons of space. Rather than the essay be lost forever, I have decided to post it online. My thanks to Malcolm Turvey for his penetrating criticisms of an early draft. Thanks too, to Murray Smith and Thomas Wartenberg for their comments on the submission to JAAC. Finally, I am grateful to David Greven for his comments on the final section that prompted some small, but important revisions prior to this posting. The errors that undoubtedly remain are my own. I invite readers to consult Greven’s book, Psycho-Sexual, on the themes of the final section.

Yorgos Lanthimos’s Dogtooth (2009) – as, amongst other things, a satire on the close-knit (if not suffocating) bonds of the contemporary Greek family ideal – depicts the home-schooling project pursued to its logical (and absurd) conclusion: showing the lives of three nameless, apparently adult children who have never left the walled garden of their isolated house, and who receive all their care and guidance from their very literally ‘stay-at-home-mother’ and middle-management father. The paternal regime places great emphasis on the role of language, determining precise and idiosyncratic meanings for everyday signifiers in order to control the experience of the children. This paper will suggest that such a set up expresses a particularly Lacanian understanding of the formation of the Subject in and through language, and explores the role of the Symbolic in Dogtooth through Lacan’s ‘Seminar on The Purloined Letter’ and ‘The Subversion of the Subject’ in particular. Moreover, I will suggest that the rebellious older daughter in Dogtooth can be compared to key women from the Greek tragic tradition, such as Medea and – most significantly – Antigone. It will ask what destiny is offered to the speaking subject by a Lacanian ethics of desire, and attempt to negotiate Žižek’s question to Lacan: how are we to distinguish between an ethical Act and a self-destructive mania, the “passion for the Real”?

Indian Philosophy has reached across the globe. It is popular for its
practical way towards life. Study of Indian philosophy should be part
of all streams of education.
Film is effective tool of communication. It attracts all generations and
makes strong impression in the mind. Film is always considered as an
effective tool in Pedagogy. Philosophy deals with abstract concepts,
their correlation and logical reasoning. It deals with the complex
problem of reality. People have notion that philosophy is a dry and
theoretical subject.
Students can understand complex philosophical ideas if they are
demonstrated through films. There are films based on biographies of
philosophers, life picture of great people, incidences in life of
philosophers. But it can attract only limited number of audience.
Some popular Hollywood films have amalgamation of science fiction,
super natural elements, fantastic story guided by some philosophical
principles. Such films attract audience from different strata. Viewer
is totally captivated by extra ordinary super natural and fictional
elements in the film. As a result, certain philosophical principles are
taught to audience without their conscious effort. (Kantāsammita
upadeśa) Teaching philosophy with the means of such films can be
definitely effective tool in Pedagogy.
Such practise will not only create liking for Indian Philosophy but
will result in effective understanding of complex ideas. It can create
awareness that Indian Philosophy is embraced across the globe, there
are no boundaries for philosophical deliberations and there are certain
common threads in different philosophical schools.
Paper will take example of popular movie ‘Matrix’ to explain the
principles of Advaita Vedānta. The Matrix is a 1999 science fiction
film written and directed by The Wachowskis, starring Keanu Reeves,
Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, and Joe
Pantoliano. It states the journey of hero of the film ‘Neo’ who is
aspiring for reality. He is struggling between illusory world and the
real world which is presented through the means of science fiction.
This paper will analyse Matrix from the perspective of Advaita
Vedānta. Māyā projects the illusory world (vikṣepa) in place of
Brahman (āvaraṇa). Film portrays digital world as illusory world.
One sees this world as real due to limitations of body, mind and
intellect. Neo goes to the real world and realises his true nature. True
reality is beyond senses and sense objects (atindrīya). Concepts of
Advaita Vedānta can be explained with this film. Such movies can be
shown to students along with Vedanta discourses. Paper will explore
‘Film and Philosophy’ as an effective pedagogical model.

“Mr Spade, I have a terrible, terrible confession to make: that story I told you yesterday was just a story.”

The Maltese Falcon (Huston, 1941) is concerned throughout with truth and lies; moreover, there is a willingness to treat certain lies as if they were true. Indeed, the falcon statue itself is the film’s proton-pseudos: it is a fake, an object that “does not exist” but nonetheless sets the narrative in motion. More than a lie, such a construction works as a fiction. This paper will suggest that Lacan’s much misunderstood references to the square root of minus one provide a useful way in which to approach the fictions that structure The Maltese Falcon. Referencing the necessity in mathematics of introducing an imaginary number (the fictional value i) for the square root of minus one, Lacan insists in “The Subversion of the Subject” upon the necessary fiction of signification for the functioning of the Symbolic order. Signification, imaginary number, falcon: none of which “exists” but all of which “function”. Each exercises an influence as a fiction, granting its respective field – language, mathematics, film – a certain consistency that would otherwise be lacking. Finally, through an examination of the film’s use of the figure of the “fall guy”, I will seek to draw Lacan’s discussion of the imaginary number into a relation with his (brief) references to Jeremy Bentham’s Theory of Fictions. I will explore the way in which The Maltese Falcon suggests a reconsideration (and expansion) of Lacan’s engagement – particularly in Seminar VII – with Bentham, to highlight a necessary, imaginary dimension of structure that is common to the work of psychoanalyst, philosopher and film alike.

Grizzly Man (2005) is a documentary film by German director Werner Herzog which tells us how the amateur environmentalist-activist Timothy Treadwell spent a considerable amount of time–13 summers–with grizzly bears in Alaska before, in 2003, he and his girlfriend were eaten by one. The film mostly consists of footage from films that Treadwell himself shot, showing his interactions with grizzlies and how he, alone, almost as a warrior, fought to protect them. This footage is accompanied by interviews with friends, parents, officials, and a pilot who would take Treadwell to the “expedition” site. The documentary is of interest not only for the representation of the devoted idealist Treadwell, but also for the questions raised about the human and its relation to the animal-other.

Este trabalho é sustentado pela dupla convicção de que
caracterizar a noção de “carne” pela de “Visibilidade” nos
permite, de um lado, evitar a maior parte dos mal-entendidos
relacionados à interpretação da primeira e, de outro, permitiu
ao último Merleau-Ponty desenvolver noções ontológicas
extremamente inovadoras, que podem nos ajudar a pensar
filosoficamente alguns dos fenômenos culturais mais
pregnantes dos nossos dias.
Entre esses fenômenos culturais, a nossa nova relação
com as imagens é emblemática.

Research on classic Hollywood films under Mitchell Leisen
direction improves if we adopt some keys developed by Harvard philosopher Stanley Cavell. Among the contributions of this philosopher, there are some to highlight: his understanding of films as philosophical texts, theneed for a methodology that fits reality, careful record of details of those movies that are not captured with a single viewing. The search of true love is a very prominent vector in Leisen filmography. The methodology suggests the work of Stanley Cavell lets do justice to the philosophical content of the films of Mitchell Leisen.

Keywords: “philosophy beyond the academy”, “cinema as a philosophical text”, education, marriage, identity, paradox, reversal of roles and situations.

The notion of the ordinary or everyday is of seminal importance in Cavell’s readings of literature. The transcendental and anthropological dimensions of skepticism and the ordinary, however, may sometimes appear to be treated by him in an essentially ahistorical manner. But the discovery of the ordinary, which is always a re-discovery, can also be shown to be deeply embedded in Cavell’s treatment of modernism in the arts. The present essay therefore proposes that we can deepen our understanding of the ordinary by relating it to Walter Benjamin’s ideas about the “loss of aura,” which he develops with regard to Baudelaire, Proust and film, most famously in his essays about “The Artwork in the Age of Its Mechanical Reproducibility” and on “Some Motifs in Baudelaire.”

Resumo: O artigo procura equacionar os elos entre três formulações de Merleau-Ponty sobre a imagem: o fato de ela não ser uma "segunda coisa", a precessão recíproca dela com "o que é" e o fato de vermos "segundo ou com" as imagens. Estas três noções são mapeadas ao longa da obra de Merleau-Ponty, incluindo manuscritos inéditos. Conclui-se que a experiência do cinema explicita estes três aspectos da imagem, mas que a filosofia ainda não consegue tirar deles suficientes consequências teóricas. Palavras-chave: Merleau-Ponty.Imagem.Precessão.Cinema. Filosofia.

RESUMEN
Desde una concepción de la filosofía del cine como educación de adultos, se puede proponer que la aportación más genuina de la filmografía de La Cava a la expresión de la interrelación entre matrimonio y crisis económica se encuentra en la figura de los anti-héroes. Con estos personajes La Cava plantea tanto la necesidad que experimenta el ser humano de las sociedades industriales de remediar la angustia que le produce su propia debilidad y vulnerabilidad, como la necesidad de entablar relaciones de ayuda. Desde su participación en el cine de animación, así como en sus películas de cine mudo y en sus películas habladas, los protagonistas superan sus propias limitaciones gracias a relaciones de confianza con los demás, de las que el matrimonio igualitario y de mutua ayuda  entre el varón y mujer es el modelo más pleno.
Palabras clave: matrimonio, confianza, antihéroes, vulnerabilidad,  igualdad y complementariedad entre  varón y mujer, ayuda, filosofía del cine, educación de adultos.
ABSTRACT
From a conception of philosophy of films education of grownups, it can be proposed that the most genuine contribution of the films of La Cava to the expression of the interrelation between marriage and economic crisis is found in the figure of the anti-heroes. With these characters La Cava presents both the need experienced by people in industrial societies to remedy the distress caused by his own weakness and vulnerability, as the need to build help relationships. Since his participation in the animated film, as well as their silent films and films spoken, the characters overcome their own limitations through trusting relationships with others, of the equal and mutual marriage aid between male and woman is the full model.
Key words: marriage, trust, antiheroes, vulnerability, equality and complementarity between male / female, help, philosophy of cinema, education of grownups.

Research on classic Hollywood films under Mitchell
Leisen direction improves if we adopt some keys developed by
Harvard philosopher Stanley Cavell. The search of true love is a
very prominent vector in Leisen filmography. Midnight, one of his
masterpieces, properly reflects this vector. Only perseverance in the
search for true love overcomes the temptation to lie about one’s
life and the renunciation of one’s identity. Leisen’s films educate on
multiple paradoxes that have to overcome this search, the very same
style of education that Stanley Cavell recognises in the couples of
his remarriage comedies that are consolidated through mutual education.
Keywords: “philosophy beyond the academy”, “cinema as a philosophical text”, education, marriage, identity, paradox, reversal of
roles and situations.

Testo in italiano

GLI INDESIDERATI. I SENTIERI DI WALTER BENJAMIN IN UN FILM DI FABRIZIO FERRARO
Gli indesiderati d’Europa, incentrato sulla 'retirada republicana' e l’esodo di Walter Benjamin, è l’ultimo film di Fabrizio Ferraro, uno degli autori più originali e innovativi del panorama indipendente. Questo volume ne raccoglie il diario di lavorazione, alimentando una riflessione in fieri sui processi teorici e operativi che sottendono la messa in forma dell’immagine filmica.

«Leggendo questo libro di Valerio Carando sulla lavorazione de Gli indesiderati d’Europa, arricchito da interviste con i protagonisti, fotografie di scena e fuori scena e da illuminanti precisazioni teoriche del regista Fabrizio Ferraro, che quel reale indaga aprendo domande impertinenti (ma il suo indagare è pertinente), scoprirete come fa un film italo-catalano indipendente e a basso costo a superare i blockbuster in 3D di Hollywood non in profondità culturale (chi sa misurarla?) ma in effetti speciali, sorprendenti e scioccanti, coinvolgendo il pubblico nel piacere della creazione, ma senza riempirlo di retorica pesante, montaggio soffocante, decaloghi comportamentali» (Roberto Silvestri)

The notion of the ordinary or everyday is of seminal importance in Cavell’s readings of literature. The transcendental and anthropological dimensions of skepticism and the ordinary, however, may sometimes appear to be treated by him in an essentially ahistorical manner. But the discovery of the ordinary, which is always a re-discovery, can also be shown to be deeply embedded in Cavell’s treatment of modernism in the arts. The present essay therefore proposes that we can deepen our understanding of the ordinary by relating it to Walter Benjamin’s ideas about the “loss of aura,” which he develops with regard to Baudelaire, Proust and film, most famously in his essays about “The Artwork in the Age of Its Mechanical Reproducibility” and on “Some Motifs in Baudelaire.”

In the first part of the book I examine the contributions that Sartre, Merleau-Ponty, Lyotard and Deleuze gave to a philosophical comprehension of the novelty that the cinematic experience implied in XXth century. On this basis, in the second part of the book I try to elaborate a philosophical comprehension of the mutations through which the digital revolution and our connected relations with screens – which nowadays have become our referential optical apparatus – are influencing and modifying our present experience of seeing, thinking and desiring, asking for a mutation of philosophy too. This is precisely what I call Philosophy-Screens.

Why is today's culture so deeply attached to the past and focused on its own remnants, which have suprisingly quickly come to represent its creators' main field of interest? Marzec explores this question by drawing on Jacques Derrida's quasi-concept of 'the spectre' in order to interpret the artistic 'found footage' work of Bill Morrison and other artists fascinated by the unusually creative and productive force of disintegration. This interesting film genre, forever gazing into the abyss of archival resources, not only brings to light the traces of a reality that has long ceased to exist - it also inspires a deep sense of nostalgia in its viewers and points to the faint presence of the past in the present, but above all, it fetishizes remnants.

Dlaczego współczesna kultura jest tak bardzo przywiązana do swojej
przeszłości oraz skoncentrowana na własnych resztkach, które w
zadziwiająco krótkim czasie stały się głównym obszarem zainteresowania
jej twórców? Autor pragnie odnaleźć odpowiedź na to pytanie,
wykorzystując quasi-pojęcie „widma” Jacquesa Derridy do interpretacji
artystycznej twórczości „found footage” – prac Billa Morrisona oraz
innych artystów zafascynowanych niezwykle twórczą i produktywną siłą
rozkładu. Ten ciekawy gatunek filmowy, nieustannie zapatrzony w
przepastne zasoby archiwum, nie tylko wyciąga na światło dzienne ślady
nieistniejącej już dawno rzeczywistości, budzi w swoich widzach
głębokie poczucie nostalgii oraz wskazuje na słabą obecność
przeszłości w teraźniejszości, ale przede wszystkim fetyszyzuje
resztki

Resumen: Desde una concepción de la filosofía del cine como educación de adultos, se puede proponer que la aportación más genuina de la filmografía de La Cava a la expresión de la interrelación entre matrimonio y crisis económica se encuentra en la figura de los anti-héroes. Con estos personajes La Cava plantea tanto la necesidad que experimenta el ser humano de las sociedades industriales de remediar la angustia que le produce su propia debilidad y vulnerabilidad, como la necesidad de entablar relaciones de ayuda. Desde su participación en el cine de animación, así como en sus películas de cine mudo y en sus películas habladas, los protagonistas superan sus propias limitaciones gracias a relaciones de confianza con los demás, de las que el matrimonio igualitario y de mutua ayuda  entre el varón y mujer es el modelo más pleno.
Palabras clave: matrimonio, confianza, antihéroes, vulnerabilidad,  igualdad y complementariedad entre  varón y mujer, ayuda, filosofía del cine, educación de adultos.

Abstract: From a conception of philosophy of films education of grownups, it can be proposed that the most genuine contribution of the films of La Cava to the expression of the interrelation between marriage and economic crisis is found in the figure of the anti-heroes. With these characters La Cava presents both the need experienced by people in industrial societies to remedy the distress caused by his own weakness and vulnerability, as the need to build help relationships. Since his participation in the animated film, as well as their silent films and films spoken, the characters overcome their own limitations through trusting relationships with others, of the equal and mutual marriage aid between male and woman is the full model.
Keywords: marriage, trust, antiheroes, vulnerability, equality and complementarity between male / female, help, philosophy of cinema, education of grownups.

Le 10/12/2019 au Département de Philosophie de la Université de  Saô Paulo (Brésil), je participerai au lancement du premier "READER", comme on l'appellerait en anglais, consacré à mon travail philosophique. Une étape très importante et significative dans mon parcours de recherche.