Jean-François Lyotard – författare

Det postmoderna tillståndet utgör en återkommande referens i samtalet om vår samtid och de förutsägelser som görs om det framväxande informationssamhället har fortfarande en påtagligt kritisk potential.

För drygt trettio år sedan publicerades Jean-François Lyotards La condition postmoderne, där frågan ställdes om innebörden i arvet från upplysningen. Ska det postmoderna förstås som ett brott med dess rationalitet och universalism, eller som en fortsättning och radikalisering av dess självkritik? Lyotards idé om ett postmodernt brott kom att kritiseras av bland andra Jürgen Habermas för vilken upplysningen var ett projekt som förvisso hade sin baksida, men som i grunden borde försvaras. Fredric Jameson utvecklade därefter begreppet postmodernism i en annan riktning – som ett uttryck för senkapitalismens kulturella logik. Debatten kom att röra sig från filosofi och politisk teori till bildkonst, litteratur, dans och arkitektur, från diskussioner om subjektet och språket till kultursociologiska analyser om skillnaden mellan högt och lågt inom kulturen. Vår egen samtid är på många sätt präglad av detta högst kontroversiella arv, men dess innebörd är likväl långt ifrån klar. Vad var det postmoderna? Vilka var debattens historiska förutsättningar? Kan vi idag formulera dessa problem så att de fortfarande är relevanta?

Many definitions of postmodernism focus on its nature as the aftermath of the modern industrial age when technology developed. This book extends that analysis to postmodernism by looking at the status of science, technology, and the arts, the significance of technocracy, and the way the flow of information is controlled in the Western world.

In this major study, now available in paperback, Lyotard develops his analysis of the phenomenon of postmodernity, and examines the philosophy of Kant, Heidegger, Adorno and Derrida. Lyotard claims that it is the task of literature, philosophy and the arts to bear witness to and explain the links between modernity, progress and humanity, and the difficult transition to postmodernity.

Why Philosophize? is a series of lectures given by Jean-François Lyotard to students at the Sorbonne embarking on their university studies. The circumstances obliged him to be both clear and concise: at the same time, his lectures offer a profound and far-reaching meditation on how essential it is to philosophize in a world where philosophy often seems irrelevant, outdated, or inconclusive. Lyotard begins by drawing on Plato, Proust and Lacan to show that philosophy is a never-ending desire - for wisdom, for the ‘other’. In the second lecture he draws on Heraclitus and Hegel to explore the close relation between philosophy and history: the same restlessness, the same longing for a precarious unity, drives both. In his third lecture, Lyotard examines how philosophy is a form of utterance, both communicative and indirect. Finally, he turns to Marx, exploring the extent to which philosophy can be a transformative action within the world. These wonderfully accessible lectures by one of the most influential philosophers of the last 50 years will attract a wide readership, since, as Lyotard says, ‘How can one not philosophize?’ They are also an excellent introduction to Lyotard’s mature thought, with its emphasis on the need for philosophy to bear witness, however obliquely, to a recalcitrant reality.

Why Philosophize? is a series of lectures given by Jean-François Lyotard to students at the Sorbonne embarking on their university studies. The circumstances obliged him to be both clear and concise: at the same time, his lectures offer a profound and far-reaching meditation on how essential it is to philosophize in a world where philosophy often seems irrelevant, outdated, or inconclusive. Lyotard begins by drawing on Plato, Proust and Lacan to show that philosophy is a never-ending desire - for wisdom, for the ‘other’. In the second lecture he draws on Heraclitus and Hegel to explore the close relation between philosophy and history: the same restlessness, the same longing for a precarious unity, drives both. In his third lecture, Lyotard examines how philosophy is a form of utterance, both communicative and indirect. Finally, he turns to Marx, exploring the extent to which philosophy can be a transformative action within the world. These wonderfully accessible lectures by one of the most influential philosophers of the last 50 years will attract a wide readership, since, as Lyotard says, ‘How can one not philosophize?’ They are also an excellent introduction to Lyotard’s mature thought, with its emphasis on the need for philosophy to bear witness, however obliquely, to a recalcitrant reality.

This translation of Lyotard's first book, La Phenomenologie, supplies an important link to Lyotard's more recent works. Phenomenology presents a commentary on the phenomenological movement. From the dual perspectives of a work on, and of, phenomenology, Lyotard's text profiles the different aspects of phenomenology, focusing particularly on the writings of Hegel, Husserl, Merleau-Ponty, and Tran Duc Thao. Phenomenology marks a particular episode in Lyotard's reflections on the "philosophical project" and is emblematic of his critical reflections on philosophy's involvements in routine, daily commitments. Like Merleau-Ponty, in this work Lyotard eliminates philosophy as a "separate existence." Beyond offering an account of certain phenomenological themes, Lyotard's commentary explicates phenomenology's relevance to psychology, sociology, and history.

Jean-François Lyotard is one of Europe's leading philosophers, well known for his work The Postmodern Condition. In this important new study he develops his analysis of the phenomenon of postmodernity.In a wide-ranging discussion the author examines the philosophy of Kant, Heidegger, Adorno, and Derrida and looks at the works of modernist and postmodernist artists such as Cézanne, Debussy, and Boulez. Lyotard addresses issues such as time and memory, the sublime and the avant-garde, and the relationship between aesthetics and politics. Throughout his discussion he considers the close but problematic links between modernity, progress, and humanity, and the transition to postmodernity. Lyotard claims that it is the task of literature, philosophy, and the arts, to bear witness to and explain this difficult transition.This important contribution to aesthetic and philosophical debates will be of great interest to students in philosophy, literary, and cultural theory and politics.

Philosophical aesthetics has seen an amazing revival over the past decade, as a radical questioning of the very grounds of Western epistemology has revealed that some antinomies of aesthetic experience—and in particular of the limits of the aesthetical—can be viewed as a general, yet necessarily open model for human understanding. In this revival, no text in the classical corpus of Western philosophy has been more frequently discussed than the complex paragraphs modestly inserted into Kant's Critique of Judgment as sections 23-29: the Analytic of the Sublime.This book is a rigorous explication de texte, a close reading of these sections. First, Lyotard reconstitutes, following the letter of Kant's analysis, the philosophical context of his critical writings and of the European Enlightenment. Second, because the analytic of the sublime reveals the inability of aesthetic experience to bridge the separate realms of theoretical and practical reason, Lyotard can connect his reconstitution of Kant's critical project with today's debates about the very conditions—and limits—of presentation in general.Lyotard enables us to see the sublime as a model for reflexive thinking generally via his concept of the "differend," which emphasizes the inevitability of conflicts and incompatibilities between different notions and "phrases." The Analytic of the Sublime, he points out, tries to argue that human thought is always constituted through a similar incompatibility between different intellectual and affective faculties. These lessons thus highlight the analysis of a "differend of feeling" in Kant's text, which is also the analysis of a "feeling of differend," and connect this feeling with the transport that leads all thought (critical thought included) to its limits.

Philosophical aesthetics has seen an amazing revival over the past decade, as a radical questioning of the very grounds of Western epistemology has revealed that some antinomies of aesthetic experience—and in particular of the limits of the aesthetical—can be viewed as a general, yet necessarily open model for human understanding. In this revival, no text in the classical corpus of Western philosophy has been more frequently discussed than the complex paragraphs modestly inserted into Kant's Critique of Judgment as sections 23-29: the Analytic of the Sublime.This book is a rigorous explication de texte, a close reading of these sections. First, Lyotard reconstitutes, following the letter of Kant's analysis, the philosophical context of his critical writings and of the European Enlightenment. Second, because the analytic of the sublime reveals the inability of aesthetic experience to bridge the separate realms of theoretical and practical reason, Lyotard can connect his reconstitution of Kant's critical project with today's debates about the very conditions—and limits—of presentation in general.Lyotard enables us to see the sublime as a model for reflexive thinking generally via his concept of the "differend," which emphasizes the inevitability of conflicts and incompatibilities between different notions and "phrases." The Analytic of the Sublime, he points out, tries to argue that human thought is always constituted through a similar incompatibility between different intellectual and affective faculties. These lessons thus highlight the analysis of a "differend of feeling" in Kant's text, which is also the analysis of a "feeling of differend," and connect this feeling with the transport that leads all thought (critical thought included) to its limits.

In this, one of the last published books planned by one of the major cultural philosophers of our time, Lyotard addresses, in his powerful and allusive critical voice, Malraux's reflections on art and literature. The result, more than a sequel to Lyotard's acclaimed biography Signé Malraux, tells us as much about Lyotard and his critical concerns as it does about Malraux. It gives us Lyotard's final thoughts on his long study of the critical, disruptive possibilities of art and of the relation between aesthetics and politics. At first glance, Lyotard's sympathetic and generous analysis of Malraux might be surprising to some, for Malraux's metaphysics of art seems far removed from, if not diametrically opposed to, Lyotard's postmodern, experimental approach. But this is perhaps the book's greatest achievement, for Lyotard succeeds both in giving a compelling critical reading of Malraux (and through him of an entire era of art criticism) and in presenting, complicating, and developing his own position on art and aesthetics.In order to present Lyotard's exquisitely compact style in the best possible way, the original French text appears on facing pages with the English translation.

In this, one of the last published books planned by one of the major cultural philosophers of our time, Lyotard addresses, in his powerful and allusive critical voice, Malraux's reflections on art and literature. The result, more than a sequel to Lyotard's acclaimed biography Signé Malraux, tells us as much about Lyotard and his critical concerns as it does about Malraux. It gives us Lyotard's final thoughts on his long study of the critical, disruptive possibilities of art and of the relation between aesthetics and politics. At first glance, Lyotard's sympathetic and generous analysis of Malraux might be surprising to some, for Malraux's metaphysics of art seems far removed from, if not diametrically opposed to, Lyotard's postmodern, experimental approach. But this is perhaps the book's greatest achievement, for Lyotard succeeds both in giving a compelling critical reading of Malraux (and through him of an entire era of art criticism) and in presenting, complicating, and developing his own position on art and aesthetics.In order to present Lyotard's exquisitely compact style in the best possible way, the original French text appears on facing pages with the English translation.

This remarkable posthumous work by one of the leading philosophers of the twentieth century engages Augustine's Confessions, one of the major canonical works of world literature and the very paradigm of autobiography as a definable genre of writing.Lyotard approaches his subject by returning to his earliest phenomenological training, rearticulating Augustine's sensory universe from a vantage point imaginarily inside the confessant's world, a vantage point that reveals the intense point of conjuncture between the sensual and the spiritual, the erotic world and the mystical, being and appearance, sin and salvation. Lyotard reveals the very origins of phenomenology in Augustine's narrative, and in so doing also shows the origins of semiotics to lie there (in the explication of the Augustinian heavens as skin, as veil, as vellum).Lyotard's explication of Augustine is also a final survey of the entirety of the philosophical enterprise, a philosopher's profound reflections on the very basis of philosophy. He sees the Confessions as a major source of the Western—and decidedly modern—determination of the self and of its normativity, the point of departure for all reflection and the condition of possibility of all experience. Lyotard suggests that Augustine's "I," Descartes's "cogito," and Husserl's "transcendental ego" in essence or structurally say the same thing.Lyotard aims at no simple ascription of Augustine's position. Instead, his text centers on what he takes to be Augustine's central confession: the repeated avowal of an essential uncertainty concerning the status of the faith confessed, of being in a sense already too late, of a difficulty in being no longer of this world while being in it all the same. Far from offering the foundation of all subsequent journeys to selfhood, Lyotard sees the Confessions as many evocations of a certain loss of self, of a temporality that is not given or recuperated all at once—or once and for all—but that time and again is lost or forgotten.

This remarkable posthumous work by one of the leading philosophers of the twentieth century engages Augustine's Confessions, one of the major canonical works of world literature and the very paradigm of autobiography as a definable genre of writing.Lyotard approaches his subject by returning to his earliest phenomenological training, rearticulating Augustine's sensory universe from a vantage point imaginarily inside the confessant's world, a vantage point that reveals the intense point of conjuncture between the sensual and the spiritual, the erotic world and the mystical, being and appearance, sin and salvation. Lyotard reveals the very origins of phenomenology in Augustine's narrative, and in so doing also shows the origins of semiotics to lie there (in the explication of the Augustinian heavens as skin, as veil, as vellum).Lyotard's explication of Augustine is also a final survey of the entirety of the philosophical enterprise, a philosopher's profound reflections on the very basis of philosophy. He sees the Confessions as a major source of the Western—and decidedly modern—determination of the self and of its normativity, the point of departure for all reflection and the condition of possibility of all experience. Lyotard suggests that Augustine's "I," Descartes's "cogito," and Husserl's "transcendental ego" in essence or structurally say the same thing.Lyotard aims at no simple ascription of Augustine's position. Instead, his text centers on what he takes to be Augustine's central confession: the repeated avowal of an essential uncertainty concerning the status of the faith confessed, of being in a sense already too late, of a difficulty in being no longer of this world while being in it all the same. Far from offering the foundation of all subsequent journeys to selfhood, Lyotard sees the Confessions as many evocations of a certain loss of self, of a temporality that is not given or recuperated all at once—or once and for all—but that time and again is lost or forgotten.

Enthusiasm studies what Kant calls a "strong" sense of the sublime, not as an aesthetic feeling but as a form of political judgment rendered not by the active participants in historical events but those who witness them from afar. Lyotard's analysis, preparatory to his work in The Differend and subsequent publications, is a radical rereading of the Kantian "faculties," traditionally understood as functions of the mind, in terms of a philosophy of phrases derived from Lyotard's prior encounters with Wittgenstein's theory of language games. The result is a kind of "fourth" critique based in Kant's later political and historical writings, with an emphasis on understanding the place of those sudden and unscripted events that have the power to reshape the political/historical landscape (such as the French Revolution, May 1968, and others).

Many definitions of postmodernism focus on its nature as the aftermath of the modern industrial age when technology developed dynamically. In The Postmodern Condition Jean-Francois Lyotard extends that analysis to postmodernism by looking at the status of science, technology, and the arts, the significance of technocracy, and the way the flow of information and knowledge are controlled in the Western world. Lyotard emphasized language; the world of postmodern knowledge can be represented as a game of language where speaking is participation in the game whose goal is the creation of new and ever-changing social linkages.

Although Heidegger's relationship to nazism was hinted at as early as 1960, it was only confirmed in 1987 through the publication in France of previously unpublished speeches, lectures and letters. French intellectual responded violently, either vindicating or condemning Heidegger. The two interrelated essays in this volume are Lyotard's contribution to the debate. In the first, "the Jews", Lyotard establishes the theme of the "outsider" by placing "the Jews" in lower case, plural, and in quotation marks to represent the outsiders: artists, anarchists, black, the homeless - and the Jews; they are all a disruptive, alien force which threatens the West's dream of development and fulfilment. In "Heidegger", the second essay, Lyotard postulates a nubmer of rules for explaining the "Heidegger affair", most of which call for a close textual reading, and facilitate interpretation of the affair within the widest possible context.

This is a collection of fifteen 'fables' that ask, in the words of Jean-Francois Lyotard, "how to live, and why?" Here, Lyotard provides a mixture of anarchistic, irreverence and sober philosophical reflection on a wide range of topics with attention to issues of justice and ethics, aesthetics and judgement.

Lyotard’s earliest major work, available in English for the first timeChoice Outstanding Academic TitleJean-FranÇois Lyotard is recognized as one of the most significant French philosophers of the twentieth century. Although nearly all of his major writing has been translated into English, one important work has until now been unavailable. Discourse, Figure is Lyotard’s thesis. Provoked in part by Lacan’s influential seminars in Paris, Discourse, Figure distinguishes between the meaningfulness of linguistic signs and the meaningfulness of plastic arts such as painting and sculpture. Lyotard argues that because rational thought is discursive and works of art are inherently opaque signs, certain aspects of artistic meaning such as symbols and the pictorial richness of painting will always be beyond reason’s grasp. A wide-ranging and highly unusual work, Discourse, Figure proceeds from an attentive consideration of the phenomenology of experience to an ambitious meditation on the psychoanalytic account of the subject of experience, structured by the confrontation between phenomenology and psychoanalysis as contending frames within which to think the materialism of consciousness. In addition to prefiguring many of Lyotard’s later concerns, Discourse, Figure captures Lyotard’s passionate engagement with topics beyond phenomenology and psychoanalysis to structuralism, semiotics, poetry, art, and the philosophy of language.

Jean-François Lyotard (1924-1998) was one of the most important French philosophers of the Twentieth Century. His impact has been felt across many disciplines: sociology; cultural studies; art theory and politics. This volume presents a diverse selection of interviews, conversations and debates which relate to the five decades of his working life, both as a political militant, experimental philosopher and teacher. Including hard-to-find interviews and previously untranslated material, this is the first time that interviews with Lyotard have been presented as a collection.Key concepts from Lyotard’s thought – the differend, the postmodern, the immaterial – are debated and discussed across different time periods, prompted by specific contexts and provocations. In addition there are debates with other thinkers, including Emmanuel Levinas and Jacques Derrida, which may be less familiar to an Anglophone audience. These debates and interviews help to contextualise Lyotard, highlighting the importance of Marx, Freud, Kant and Wittgenstein, in addition to the Jewish thought which accompanies the questions of silence, justice and presence that pervades Lyotard’s thinking.

Jean-François Lyotard (1924-1998) was one of the most important French philosophers of the Twentieth Century. His impact has been felt across many disciplines: sociology; cultural studies; art theory and politics. This volume presents a diverse selection of interviews, conversations and debates which relate to the five decades of his working life, both as a political militant, experimental philosopher and teacher. Including hard-to-find interviews and previously untranslated material, this is the first time that interviews with Lyotard have been presented as a collection.Key concepts from Lyotard’s thought – the differend, the postmodern, the immaterial – are debated and discussed across different time periods, prompted by specific contexts and provocations. In addition there are debates with other thinkers, including Emmanuel Levinas and Jacques Derrida, which may be less familiar to an Anglophone audience. These debates and interviews help to contextualise Lyotard, highlighting the importance of Marx, Freud, Kant and Wittgenstein, in addition to the Jewish thought which accompanies the questions of silence, justice and presence that pervades Lyotard’s thinking.

‘Nobody knows how to write’. Thus opens this carefully nuanced and accessible collection of essays by one of the most important writer-philosophers of the 20th century, Jean-François Lyotard (1924-1998). First published in French in 1991 as Lectures d'enfance, these essays have never been printed as a collection in English. In them, Lyotard investigates his idea of infantia, or the infancy of thought that resists all forms of development, either human or technological.Each essay responds to works by writers and thinkers who are central to cultural modernism, such as James Joyce, Franz Kafka, Hannah Arendt, Jean-Paul Sartre, and Sigmund Freud. This volume – with a new introduction and afterword by Robert Harvey and Kiff Bamford – contextualises Lyotard’s thought and demonstrates his continued relevance today.

‘Nobody knows how to write’. Thus opens this carefully nuanced and accessible collection of essays by one of the most important writer-philosophers of the 20th century, Jean-François Lyotard (1924-1998). First published in French in 1991 as Lectures d'enfance, these essays have never been printed as a collection in English. In them, Lyotard investigates his idea of infantia, or the infancy of thought that resists all forms of development, either human or technological.Each essay responds to works by writers and thinkers who are central to cultural modernism, such as James Joyce, Franz Kafka, Hannah Arendt, Jean-Paul Sartre, and Sigmund Freud. This volume – with a new introduction and afterword by Robert Harvey and Kiff Bamford – contextualises Lyotard’s thought and demonstrates his continued relevance today.

With contributions selected from the last fifteen years of his life, this second volume of Jean-François Lyotard’s interviews and debates includes hard-to-find and previously untranslated material.Taking place between 1984 and 1997 they follow in the wake of Lyotard’s most notable publications, including The Postmodern Condition (1979) and The Differend (1983). Whilst continuing to contest and reconfigure the claims of these writings, Lyotard and his interlocutors help to contextualise the questions raised within the fields of art, philosophy, literature and politics.Discussions in Paris and London include contributions from thinkers such as Philippe Lacoue-Labarthe; Christine Buci-Glucksmann and Alain Badiou whilst significant interviews elsewhere in Europe, North and South America elucidate the consequences of the varied reception given to his work. The importance of Kant, Freud and Wittgenstein is readily apparent as are the themes now closely associated with Lyotard: the inhuman, infancy and resistance to ‘the system’.These interviews and debates record an evident delight in the activity of thinking which is not about rhetorical flourish or rehashing staid assumptions but of grappling with some of the most important questions confronting thought today.