Patrick Ffrench – författare

This book maps French intellectual history in the twentieth century through an interpretative engagement with the thought and legacy of Georges Bataille. It highlights the influence of Bataille and the movement of the concept of sacrifice through his work and in its wake.

Psychopathologies of the Living makes the work of the French psychoanalyst Pierre Fédida (1934–2002) available in English for the first time.Patrick ffrench and Nigel Saint present key essays selected from Fédida’s extensive oeuvre. The book directs attention to two salient dimensions of Fédida’s writing: his attention to the pathologies of the body, considered as both a psychic and somatic entity, and his insistence on the relevance of psychoanalytic thought to the sciences of life. The chapters included in this collection detail Fédida’s creative use of aesthetic sources in his psychoanalytic work, his distinctive and creative manipulation and revision of central psychoanalytic concepts and his precise attention to the texts of Freud, Ferenczi and Winnicott, among others. This selection of Fédida’s essays also shows his avoidance of thematisation or explicit theorisation; for Fédida the theory of psychoanalysis must arise out of the specific interplay of language and the ‘space of the session’.Psychopathologies of the Living will be of great interest to psychoanalysts in practice and in training and to academics and scholars of philosophy, aesthetics and literary studies.

Psychopathologies of the Living makes the work of the French psychoanalyst Pierre Fédida (1934–2002) available in English for the first time.Patrick ffrench and Nigel Saint present key essays selected from Fédida’s extensive oeuvre. The book directs attention to two salient dimensions of Fédida’s writing: his attention to the pathologies of the body, considered as both a psychic and somatic entity, and his insistence on the relevance of psychoanalytic thought to the sciences of life. The chapters included in this collection detail Fédida’s creative use of aesthetic sources in his psychoanalytic work, his distinctive and creative manipulation and revision of central psychoanalytic concepts and his precise attention to the texts of Freud, Ferenczi and Winnicott, among others. This selection of Fédida’s essays also shows his avoidance of thematisation or explicit theorisation; for Fédida the theory of psychoanalysis must arise out of the specific interplay of language and the ‘space of the session’.Psychopathologies of the Living will be of great interest to psychoanalysts in practice and in training and to academics and scholars of philosophy, aesthetics and literary studies.

Psychopathologies of the Living makes the work of the French psychoanalyst Pierre Fedida (1934-2002) available in English for the first time.Patrick ffrench and Nigel Saint present key essays selected from Fedida's extensive oeuvre. The book directs attention to two salient dimensions of Fedida's writing: his attention to the pathologies of the body, considered as both a psychic and somatic entity, and his insistence on the relevance of psychoanalytic thought to the sciences of life. The chapters included in this collection detail Fedida's creative use of aesthetic sources in his psychoanalytic work, his distinctive and creative manipulation and revision of central psychoanalytic concepts and his precise attention to the texts of Freud, Ferenczi and Winnicott, among others. This selection of Fedida's essays also shows his avoidance of thematisation or explicit theorisation; for Fedida the theory of psychoanalysis must arise out of the specific interplay of language and the 'space of the session'.Psychopathologies of the Living will be of great interest to psychoanalysts in practice and in training and to academics and scholars of philosophy, aesthetics and literary studies.

Psychopathologies of the Living makes the work of the French psychoanalyst Pierre Fedida (1934-2002) available in English for the first time.Patrick ffrench and Nigel Saint present key essays selected from Fedida's extensive oeuvre. The book directs attention to two salient dimensions of Fedida's writing: his attention to the pathologies of the body, considered as both a psychic and somatic entity, and his insistence on the relevance of psychoanalytic thought to the sciences of life. The chapters included in this collection detail Fedida's creative use of aesthetic sources in his psychoanalytic work, his distinctive and creative manipulation and revision of central psychoanalytic concepts and his precise attention to the texts of Freud, Ferenczi and Winnicott, among others. This selection of Fedida's essays also shows his avoidance of thematisation or explicit theorisation; for Fedida the theory of psychoanalysis must arise out of the specific interplay of language and the 'space of the session'.Psychopathologies of the Living will be of great interest to psychoanalysts in practice and in training and to academics and scholars of philosophy, aesthetics and literary studies.

Suspicious of what he called the spectator''s “sticky” adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and “myth”. In this book, Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes'' thought was, Ffrench argues, punctuated by the experience of watching films – and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory.Focusing particularly on the essays ''The Third Meaning'' and ''On Leaving the Cinema'' and the acclaimed book Camera Lucida, Ffrench examines Barthes'' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in “leaving the cinema” – disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance – he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies.

Suspicious of what he called the spectator''s “sticky” adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and “myth”. In this book, Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes'' thought was, Ffrench argues, punctuated by the experience of watching films – and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory.Focusing particularly on the essays ''The Third Meaning'' and ''On Leaving the Cinema'' and the acclaimed book Camera Lucida, Ffrench examines Barthes'' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in “leaving the cinema” – disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance – he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies.

Suspicious of what he called the spectator’s “sticky” adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and “myth”. In this book, Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes’ thought was, Ffrench argues, punctuated by the experience of watching films – and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory.Focusing particularly on the essays ‘The Third Meaning’ and ‘On Leaving the Cinema’ and the acclaimed book Camera Lucida, Ffrench examines Barthes’ writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in “leaving the cinema” – disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance – he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies.

Author of the obscene narrative Story of the Eye and of works of heretical philosophy such as Inner Experience, Georges Bataille (1897-1962) is one of the most powerful and secretly influential French thinkers of the last century. His work is driven by a compulsion to communicate an experience which exceeds the limits of communicative exchange, and also constitutes a sustained focus on the nature of this complusion. After Bataille takes this sense of compulsion as its motive and traces it across different figures in Batailles thought, from an obsession with the thematics and the event of sacrifice, through the exposure of being and of the subject, to the necessary relation to others in friendship and in community. In each of these instances After Bataille is distinctive in staging a series of encounters between Bataille, his contemporaries, and critics and theorists who extend or engage with his legacy. It thus offers a vital account of the place of Bataille in contemporary thought.

Author of the obscene narrative Story of the Eye and of works of heretical philosophy such as Inner Experience, Georges Bataille (1897-1962) is one of the most powerful and secretly influential French thinkers of the last century. His work is driven by a compulsion to communicate an experience which exceeds the limits of communicative exchange, and also constitutes a sustained focus on the nature of this complusion. After Bataille takes this sense of compulsion as its motive and traces it across different figures in Batailles thought, from an obsession with the thematics and the event of sacrifice, through the exposure of being and of the subject, to the necessary relation to others in friendship and in community. In each of these instances After Bataille is distinctive in staging a series of encounters between Bataille, his contemporaries, and critics and theorists who extend or engage with his legacy. It thus offers a vital account of the place of Bataille in contemporary thought.

Suspicious of what he called the spectator’s “sticky” adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and “myth”. In this book, Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes’ thought was, Ffrench argues, punctuated by the experience of watching films – and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory.Focusing particularly on the essays ‘The Third Meaning’ and ‘On Leaving the Cinema’ and the acclaimed book Camera Lucida, Ffrench examines Barthes’ writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in “leaving the cinema” – disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance – he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies.