Comment s’adresser aux gens de façon à ce qu’ils pensent leur vie autrement qu’ils ne le font d’habitude ? C’est à cette question que le théâtre, qui est le plus complet des arts, répond avec une incomparable force.
Alain Badiou, Ph.D., born in Rabat, Morocco in 1937, holds the Rene Descartes Chair at the European Graduate School EGS. Alain Badiou was a student at the École Normale Supérieure in the 1950s. He taught at the University of Paris VIII (Vincennes-Saint Denis) from 1969 until 1999, when he returned to ENS as the Chair of the philosophy department. He continues to teach a popular seminar at the Collège International de Philosophie, on topics ranging from the great 'antiphilosophers' (Saint-Paul, Nietzsche, Wittgenstein, Lacan) to the major conceptual innovations of the twentieth century. Much of Badiou's life has been shaped by his dedication to the consequences of the May 1968 revolt in Paris. Long a leading member of Union des jeunesses communistes de France (marxistes-léninistes), he remains with Sylvain Lazarus and Natacha Michel at the center of L'Organisation Politique, a post-party organization concerned with direct popular intervention in a wide range of issues (including immigration, labor, and housing). He is the author of several successful novels and plays as well as more than a dozen philosophical works.
Trained as a mathematician, Alain Badiou is one of the most original French philosophers today. Influenced by Plato, Georg Wilhelm Friedrich Hegel, Jacques Lacan and Gilles Deleuze, he is an outspoken critic of both the analytic as well as the postmodern schools of thoughts. His philosophy seeks to expose and make sense of the potential of radical innovation (revolution, invention, transfiguration) in every situation.
sviđa mi se badjuov stil pisanja i njegova konstantna zapitanost i kritički pogled na svet. a o njegovom širokom znanju iz oblasti drame i pozorišta i da ne pričamo 💕 za ovog čoveka i da nam ponovo dođe u beograd
ترجمه خیلی بدی بود. معادل سازی های افتضاحی داشت، یه جاهایی کلمه هایی ساخته بود که اصلا با سیاق زبان فارسی جور در نمیاد. جمله ها خیلی جاها نامفهوم بودن.
What a cool interview. I liked what he had to say about intermissions/intervals as an impurity in theater, with a similar impurity in philosophy -- and it puts his idea of a current "intervallic" period in world revolution in a different light!