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حيٌّ حتّى الموت + شذرات
: نبذة الناشر
هذا الكتاب هو، في جزئه الأول، تأملات بول ريكور في الموت، بعد صيف سنة 1995، حين بدأت زوجته سيمون تقترب من الموت، متأملاً في فكرة أن يكون المرء شاهداً وحاضراً في الحداد، وفي نظرة الآخرين إليه بوصفه باقياً على قيد الحياة، مستحضراً التجربة الدينية من خلال قراءته لنصوص بعض التفاسير…، أما جزؤه الثاني فيمثل “شذرات” وهي مجموعة النصوص المتقطعة لأفكار متعددة كتبت بين سنتي 2004 و2005 (سنة وفاته)، حول أن يولد مسيحياً بالصدفة، تلك الصدفة التي تتحول إلى القدر بفعل اختيار متواصل، حول أن ينسب إليه بأنه فيلسوف مسيحي، حول المناظرة، حول دريداً…، مقدماً تأويلات ومواقف من قضايا يرى أنه تبناها وهو يخرج من عنف “الديني” (وبعض المواقف، في آخر الكتاب، هي الأكثر جرأة)، كما أن هذه الفترة تمثل شهادته فيما يمكن أن يقوله عن موته وفيما يمكن أن يقوله الآخرين عنه بعد موته، من خلال التمفصل بين زمن الكتابة وزمن الحياة وزمن الاحتضار.
على القارئ أن يصبر قليلاً حتى يتجاوز عتبة الحداد التي تعلو بداية هذا الكتاب، وأن ينتظر من حين لآخر تبييناً وتوضيحاً من بول ريكور لبعض التأملات والتصورات التي تنشأ في السياق “الملحمي” الذي يصور مواجهة الفيلسوف لسؤال الموت، مواجهة يتقاطع فيها الديني مع الفلسفي مع السياسي، وهي ملحمة تبدأ بسؤال ريكور: “ولكن ما هذا الموت الأكثر واقعية من الحياة؟”، غير أن إيقاع ملحمة الكتابة لديه يتفاوت حدة في متن النص الذي بقي مسودة مدة سنوات، بالإضافة إلى طابع الشذرات الذي يعني من بين ما يعني انعكاساً لإيقاع الحياة الأخيرة للفيلسوف، بوصف أسلوب كتابة الشذرات هو في وجه من وجوهه كتابة احتضارية.
هذا الكتاب هو، في جزئه الأول، تأملات بول ريكور في الموت، بعد صيف سنة 1995، حين بدأت زوجته سيمون تقترب من الموت، متأملاً في فكرة أن يكون المرء شاهداً وحاضراً في الحداد، وفي نظرة الآخرين إليه بوصفه باقياً على قيد الحياة، مستحضراً التجربة الدينية من خلال قراءته لنصوص بعض التفاسير…، أما جزؤه الثاني فيمثل “شذرات” وهي مجموعة النصوص المتقطعة لأفكار متعددة كتبت بين سنتي 2004 و2005 (سنة وفاته)، حول أن يولد مسيحياً بالصدفة، تلك الصدفة التي تتحول إلى القدر بفعل اختيار متواصل، حول أن ينسب إليه بأنه فيلسوف مسيحي، حول المناظرة، حول دريداً…، مقدماً تأويلات ومواقف من قضايا يرى أنه تبناها وهو يخرج من عنف “الديني” (وبعض المواقف، في آخر الكتاب، هي الأكثر جرأة)، كما أن هذه الفترة تمثل شهادته فيما يمكن أن يقوله عن موته وفيما يمكن أن يقوله الآخرين عنه بعد موته، من خلال التمفصل بين زمن الكتابة وزمن الحياة وزمن الاحتضار.
على القارئ أن يصبر قليلاً حتى يتجاوز عتبة الحداد التي تعلو بداية هذا الكتاب، وأن ينتظر من حين لآخر تبييناً وتوضيحاً من بول ريكور لبعض التأملات والتصورات التي تنشأ في السياق “الملحمي” الذي يصور مواجهة الفيلسوف لسؤال الموت، مواجهة يتقاطع فيها الديني مع الفلسفي مع السياسي، وهي ملحمة تبدأ بسؤال ريكور: “ولكن ما هذا الموت الأكثر واقعية من الحياة؟”، غير أن إيقاع ملحمة الكتابة لديه يتفاوت حدة في متن النص الذي بقي مسودة مدة سنوات، بالإضافة إلى طابع الشذرات الذي يعني من بين ما يعني انعكاساً لإيقاع الحياة الأخيرة للفيلسوف، بوصف أسلوب كتابة الشذرات هو في وجه من وجوهه كتابة احتضارية.
- GenresPhilosophyDeath
112 pages, Paperback
First published March 1, 2007
10 people are currently reading
174 people want to read
About the author
Paul Ricœur
313 books461 followersPaul Ricoeur (1913–2005) is widely recognized as one of the most distinguished philosophers of the twentieth century. In the course of his long career he wrote on a broad range of issues. His books include a multi-volume project on the philosophy of the will: Freedom and Nature: The Voluntary and the Involuntary (1950, Eng. tr. 1966), Fallible Man (1960, Eng. tr. 1967), and The Symbolism of Evil (1960, Eng. tr. 1970); a major study of Freud: Freud and Philosophy: An Essay on Interpretation (1965, Eng. tr. 1970); The Rule of Metaphor (1975, Eng. tr. 1977); Interpretation Theory: Discourse and the Surplus of Meaning (1976); the three-volume Time and Narrative (1983-85, Eng. tr. 1984–88); Lectures on Ideology and Utopia (1986); the published version of his Gifford lectures: Oneself as Another (1990, Eng. tr. 1992); Memory, History, Forgetting (2000, Eng. tr. 2004); and The Course of Recognition (2004, Eng. tr. 2005). In addition to his books, Ricoeur published more than 500 essays, many of which appear in collections in English: History and Truth (1955, Eng. tr. 1965); Husserl: An Analysis of His Phenomenology (1967); The Conflict of Interpretations: Essays in Hermeneutics (1969, Eng. tr. 1974); Political and Social Essays (1974); Essays on Biblical Interpretation (1980); Hermeneutics and the Human Sciences (1981); From Text to Action (1986, Eng. tr. 1991); Figuring the Sacred: Religion, Narrative, and Imagination (1995); The Just (1995, Eng. tr. 2000); On Translation (2004, Eng. tr. 2004); and Reflections on the Just (2001, Eng. tr. 2007).
The major theme that unites his writings is that of a philosophical anthropology. This anthropology, which Ricoeur came to call an anthropology of the “capable human being,” aims to give an account of the fundamental capabilities and vulnerabilities that human beings display in the activities that make up their lives. Though the accent is always on the possibility of understanding the self as an agent responsible for its actions, Ricoeur consistently rejects any claim that the self is immediately transparent to itself or fully master of itself. Self-knowledge only comes through our relation to the world and our life with and among others in that world.
In the course of developing his anthropology, Ricoeur made a major methodological shift. His writings prior to 1960 were in the tradition of existential phenomenology. But during the 1960s Ricoeur concluded that properly to study human reality he had to combine phenomenological description with hermeneutic interpretation. For this hermeneutic phenomenology, whatever is intelligible is accessible to us in and through language and all deployments of language call for interpretation. Accordingly, “there is no self-understanding that is not mediated by signs, symbols, and texts; in the final analysis self-understanding coincides with the interpretation given to these mediating terms” (Oneself as Another, 15, translation corrected). This hermeneutic or linguistic turn did not require him to disavow the basic results of his earlier investigations. It did, however, lead him not only to revisit them but also to see more clearly their implications.
The major theme that unites his writings is that of a philosophical anthropology. This anthropology, which Ricoeur came to call an anthropology of the “capable human being,” aims to give an account of the fundamental capabilities and vulnerabilities that human beings display in the activities that make up their lives. Though the accent is always on the possibility of understanding the self as an agent responsible for its actions, Ricoeur consistently rejects any claim that the self is immediately transparent to itself or fully master of itself. Self-knowledge only comes through our relation to the world and our life with and among others in that world.
In the course of developing his anthropology, Ricoeur made a major methodological shift. His writings prior to 1960 were in the tradition of existential phenomenology. But during the 1960s Ricoeur concluded that properly to study human reality he had to combine phenomenological description with hermeneutic interpretation. For this hermeneutic phenomenology, whatever is intelligible is accessible to us in and through language and all deployments of language call for interpretation. Accordingly, “there is no self-understanding that is not mediated by signs, symbols, and texts; in the final analysis self-understanding coincides with the interpretation given to these mediating terms” (Oneself as Another, 15, translation corrected). This hermeneutic or linguistic turn did not require him to disavow the basic results of his earlier investigations. It did, however, lead him not only to revisit them but also to see more clearly their implications.
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Displaying 1 - 18 of 18 reviews
April 18, 2019
«É o tempo no qual eu sou; participo ainda nos tormentos e nas alegrias da criação, como num Outono crepuscular; mas sinto na minha carne e no meu espírito a cisão entre o tempo da obra e o tempo da vida; afasto-me do tempo imortal da obra e concentro-me no tempo mortal da vida; esse afastamento é um despojamento, põe a nu o tempo mortal da tristeza do ter-de-morrer, ou talvez o tempo do fim e da pobreza do espírito.»
Tempo da obra, tempo da vida, p. 78
Tempo da obra, tempo da vida, p. 78
August 23, 2016
Near the end of his life the philosopher Paul Ricoeur began to meditate on death with a focus on three questions: "1) "imagined figures" (what representation can I give myself?); 2) "mourning and cheerfulness" (what is their root?); and 3) "Am I still a Christian?" (along with In what way am I not a "Christian philosopher"?)." (p viii) The result of thinking about these questions is the slight book, Living Up to Death. The thoughts in this spare book that he left unfinished at the end of his life may be summed up by the phrase "Get on with life." That is we must address the choices in our life that one is mortal and that one cannot be loved by everyone. (p ix)
I read this book and discussed it in a course on the "Art and Practice of Dying". I will try to share some of the issues that I found both interesting and important in Ricoeur's book. One surely is his discussion of the "philosophies of finitude". That is our human mortality that we all share -- we all are obliged to die and having to die must consider our own mortality. But can we really do any more than look forward, unable to really see the end? Each day we look forward to the next day, week, month, perhaps year but the end is something that, at best, we can only hope to live up to. Then it happens. Ludwig Wittgenstein said it well in the Tractatus: "Death is not a lived experience,". Ricoeur observes that "so long as they remain lucid ill dying people do not see themselves as dying, as soon to be dead, but as still living," (pp 13-14)
With the emphasis on still living he theorizes that this feeling is connected with something essential that everyone experiences - perhaps in a religious way - but perhaps only when actually facing death.
These thoughts do not sound very cheerful, yet they are discussed in a chapter entitled "Mourning and Cheerfulness". What is cheerful about death? Ricoeur references narratives about death camp experiences ( Jorge Semprun and Primo Levi) observing that the connections between humans and the comfort that comes from the process of mourning. This he calls the "relation of our desire to live" in relation to all others. The discourse presents ideas that, while not necessarily convincing, are thought-provoking. They enable and encourage meditation on issues that might otherwise be hidden away in some corner where we do not go. This does not mean that it is comfortable to think about these ideas, but it can be comforting. I would compare it to what Ricoeur has to say about writing about these issues: "the work of memory is the work of mourning. And both are a word of hope, torn from what is unspoken." (p 39)
It is important to note that, even here with these thoughts, the manuscript left by Ricoeur was not complete and included notes in the margin that the editors of the book refer to.
The book concludes with fragments for a final chapter (chapters?) that were left unformed. Here Ricoeur was attempting to distinguish between his role as philosopher and his life as a Christian. He also comments on his own physical deterioration. His wife had died in 1998 and in 2003 he suffered degeneration of his eyesight and his heart. Yet even during this time he noted "People see me as looking better than I feel". (p 95)
He continued to think about theses issues in his last days and sent the following note to a younger colleague:
"Dear Marie,
At the hour of decline the word resurrection arises. Beyond every miraculous episode . From the depths of life, a power suddenly appears, which says that being is being against death.
Believe this with me.
your friend, Paul R."
This reminds me of a quote from Albert Camus, "In the depth of winter, I finally learned that within me there lay an invincible summer." I have always found this uplifting and there are similar moments in Paul Ricoeur's book. While it is incomplete and only partially fragments of what would have been a larger work it is still a valuable contribution to the literature about the philosophy of death and dying.
I read this book and discussed it in a course on the "Art and Practice of Dying". I will try to share some of the issues that I found both interesting and important in Ricoeur's book. One surely is his discussion of the "philosophies of finitude". That is our human mortality that we all share -- we all are obliged to die and having to die must consider our own mortality. But can we really do any more than look forward, unable to really see the end? Each day we look forward to the next day, week, month, perhaps year but the end is something that, at best, we can only hope to live up to. Then it happens. Ludwig Wittgenstein said it well in the Tractatus: "Death is not a lived experience,". Ricoeur observes that "so long as they remain lucid ill dying people do not see themselves as dying, as soon to be dead, but as still living," (pp 13-14)
With the emphasis on still living he theorizes that this feeling is connected with something essential that everyone experiences - perhaps in a religious way - but perhaps only when actually facing death.
These thoughts do not sound very cheerful, yet they are discussed in a chapter entitled "Mourning and Cheerfulness". What is cheerful about death? Ricoeur references narratives about death camp experiences ( Jorge Semprun and Primo Levi) observing that the connections between humans and the comfort that comes from the process of mourning. This he calls the "relation of our desire to live" in relation to all others. The discourse presents ideas that, while not necessarily convincing, are thought-provoking. They enable and encourage meditation on issues that might otherwise be hidden away in some corner where we do not go. This does not mean that it is comfortable to think about these ideas, but it can be comforting. I would compare it to what Ricoeur has to say about writing about these issues: "the work of memory is the work of mourning. And both are a word of hope, torn from what is unspoken." (p 39)
It is important to note that, even here with these thoughts, the manuscript left by Ricoeur was not complete and included notes in the margin that the editors of the book refer to.
The book concludes with fragments for a final chapter (chapters?) that were left unformed. Here Ricoeur was attempting to distinguish between his role as philosopher and his life as a Christian. He also comments on his own physical deterioration. His wife had died in 1998 and in 2003 he suffered degeneration of his eyesight and his heart. Yet even during this time he noted "People see me as looking better than I feel". (p 95)
He continued to think about theses issues in his last days and sent the following note to a younger colleague:
"Dear Marie,
At the hour of decline the word resurrection arises. Beyond every miraculous episode . From the depths of life, a power suddenly appears, which says that being is being against death.
Believe this with me.
your friend, Paul R."
This reminds me of a quote from Albert Camus, "In the depth of winter, I finally learned that within me there lay an invincible summer." I have always found this uplifting and there are similar moments in Paul Ricoeur's book. While it is incomplete and only partially fragments of what would have been a larger work it is still a valuable contribution to the literature about the philosophy of death and dying.
April 11, 2021
i am quite ordinary... no doubt my works will endure less than will those of derrida, who is really quite extraordinary. but there is the trace of others, to which mine do link up in some way. this is part of the hope that mine will survive. perhaps that [word illegible], even those who leave no written trace do "make a difference in God"...
there is absolutely nothing i love more in literature than the unfinished, the fragmentary, the attempt-toward-ness of a piece of writing... it's something i encountered first in sontag's notebooks <3 and have continued to admire ever since. there is a great deal of that writing-sketching in living up to death, and it's that quality of un-selfconsciousness in works like these (esp. those published posthumously) that just... hits differently. to be able to see the mind of a thinker like ricoeur literally at work on the page is a great privilege. not an access often granted by our most beloved philosophers!! his takes on mortality are brilliant (very heideggerian) and i'm obsessed with some of the vocabulary he introduces for the living-on that memory does in its myriad posthumous ways.... can't wait to read memory history forgetting i can already tell it's gonna be a blast <3
there is absolutely nothing i love more in literature than the unfinished, the fragmentary, the attempt-toward-ness of a piece of writing... it's something i encountered first in sontag's notebooks <3 and have continued to admire ever since. there is a great deal of that writing-sketching in living up to death, and it's that quality of un-selfconsciousness in works like these (esp. those published posthumously) that just... hits differently. to be able to see the mind of a thinker like ricoeur literally at work on the page is a great privilege. not an access often granted by our most beloved philosophers!! his takes on mortality are brilliant (very heideggerian) and i'm obsessed with some of the vocabulary he introduces for the living-on that memory does in its myriad posthumous ways.... can't wait to read memory history forgetting i can already tell it's gonna be a blast <3
May 4, 2021
الكتاب مفكك مهلهل، الترجمة بلا معنى!
October 5, 2022
_بواسطة الخيار ، تتحول الصدفة إلى قَدر.
_ وحدها الأشباح تتذكر الموت.
_ نحن لم نتخلص من الموتى، لم ننتهِ منهم أبدًا.
_ أننا لا نحيا إلا لأننا ننجو من الموت في كل مرة.
_ وحدها الأشباح تتذكر الموت.
_ نحن لم نتخلص من الموتى، لم ننتهِ منهم أبدًا.
_ أننا لا نحيا إلا لأننا ننجو من الموت في كل مرة.
March 17, 2023
«إننا لا نحيا إلا لأننا ننجو من الموت»
ذلك الكتاب عبارة عن مسودة كتاب للفيلسوف الفرنسي "بول ريكور" وبها تأملاته الخاصة حول الموت، وقد بدأ كتابتها عندما اشتد مرض زوجته واقتربت من الموت، والحديث الأساسي عن فكرة أن يكون المرء شاهدا على رحيل أقرب الناس إليه، ونظرة الناس إليه كونه باقيا على قيد الحياة.
«إن الحداد فعل للحياة وليس فعلا للموت، إذ في الحداد يتم اكتشاف المنابع الحقيقية والعميقة للحياة»
يبدأ الكتاب بتقديم للمترجم "عمارة الناصر"، ثم تقديم آخر للفيلسوف "أوليفيه أبال" تلميذ ريكور، وأستاذ الفلسفة والأخلاق، ويتحدث فيه عن أستاذه، ويحلل النص من واقع معاناته، وما هي الأفكار التي سيطرت عليه بعد أن رحلت زوجته.
«إن الكآبة ليست شيئا نعيبه بأي ثمن، لأنها جزء من وضعنا بالشكل الذي يجب أن يكون فيه واقعنا»
قامت بتحقيق النص "كاترين جولدنشتاين"، ولكن لأن الكتاب كان عبارة عن مسودة أولية غير مراجعة، فكانت النصوص غير متماسكة، مفقود منها العديد من الكلمات، وبالتالي لم تصل الفكرة كاملة، ويبدو أن تلاميذ ريكور أرادوا تخليد ذكراه ليس إلا، فقاموا بنشر ذلك النص الأخير، والذي ربما لم يرد ريكور نفسه أن ينشره.
«إن الناس لم يولدوا ليموتوا؛ بل ليبتكروا».. حنة أرندت
تقديمة المترجم، وأوبال هما الجزء الجيد في الكتاب، أما النص المحقق، فلا يوجد به سوى بعض الأفكار الغير مكتملة، وبعض الشذرات في النهاية مثل قوله عن إيمانه: "صدفة تحولت إلى قدر بواسطة اختيار متواصل"، وقوله أيضا لصديقته قبل موته: "إن في ساعة الانحطاط تستيقظ كلمة البعث".
ذلك الكتاب عبارة عن مسودة كتاب للفيلسوف الفرنسي "بول ريكور" وبها تأملاته الخاصة حول الموت، وقد بدأ كتابتها عندما اشتد مرض زوجته واقتربت من الموت، والحديث الأساسي عن فكرة أن يكون المرء شاهدا على رحيل أقرب الناس إليه، ونظرة الناس إليه كونه باقيا على قيد الحياة.
«إن الحداد فعل للحياة وليس فعلا للموت، إذ في الحداد يتم اكتشاف المنابع الحقيقية والعميقة للحياة»
يبدأ الكتاب بتقديم للمترجم "عمارة الناصر"، ثم تقديم آخر للفيلسوف "أوليفيه أبال" تلميذ ريكور، وأستاذ الفلسفة والأخلاق، ويتحدث فيه عن أستاذه، ويحلل النص من واقع معاناته، وما هي الأفكار التي سيطرت عليه بعد أن رحلت زوجته.
«إن الكآبة ليست شيئا نعيبه بأي ثمن، لأنها جزء من وضعنا بالشكل الذي يجب أن يكون فيه واقعنا»
قامت بتحقيق النص "كاترين جولدنشتاين"، ولكن لأن الكتاب كان عبارة عن مسودة أولية غير مراجعة، فكانت النصوص غير متماسكة، مفقود منها العديد من الكلمات، وبالتالي لم تصل الفكرة كاملة، ويبدو أن تلاميذ ريكور أرادوا تخليد ذكراه ليس إلا، فقاموا بنشر ذلك النص الأخير، والذي ربما لم يرد ريكور نفسه أن ينشره.
«إن الناس لم يولدوا ليموتوا؛ بل ليبتكروا».. حنة أرندت
تقديمة المترجم، وأوبال هما الجزء الجيد في الكتاب، أما النص المحقق، فلا يوجد به سوى بعض الأفكار الغير مكتملة، وبعض الشذرات في النهاية مثل قوله عن إيمانه: "صدفة تحولت إلى قدر بواسطة اختيار متواصل"، وقوله أيضا لصديقته قبل موته: "إن في ساعة الانحطاط تستيقظ كلمة البعث".
August 17, 2015
A little slip of a thing, to even call it a book is a stretch. It consists, first, of a meditation Ricoeur wrote and left unpublished after the death of his wife, "Mourning and Cheerfulness." A lot of the same ideas would be treated at much greater length in Ricoeur's last major book, Memory, History, Forgetting. Personally I appreciate the chance to see the philosopher in his workshop, as it were, grappling with ideas in a more intimate setting than his published work (but then I'm an incorrigibly nosy person).
The second part is a series of fragments Ricoeur wrote while he himself was dying. These are interesting, but, well, fragmentary.
It's hard to rid ourselves of the idea that dying should be a radically different kind of experience, a special revelation. The point of the title, I think, is that up to the point of being dead we're not dying, we're still alive. The postface, written by a close friend, testifies to Ricoeur's courage to keep living to the last moment.
The second part is a series of fragments Ricoeur wrote while he himself was dying. These are interesting, but, well, fragmentary.
It's hard to rid ourselves of the idea that dying should be a radically different kind of experience, a special revelation. The point of the title, I think, is that up to the point of being dead we're not dying, we're still alive. The postface, written by a close friend, testifies to Ricoeur's courage to keep living to the last moment.
October 3, 2015
Someone who has a good background on the history of ideas will find it amusing to have read manuscripts like these, which would really tell a lot about the way a thinker progresses in his own thought.
That being said, I love how Ricoeur was insightful and lucid in these reflections.
That being said, I love how Ricoeur was insightful and lucid in these reflections.
December 11, 2017
الترجمة للعربية كانت سيئة للغاية
October 26, 2018
obra póstuma. apesar de incompletos, os textos são compreensíveis e é possível, em certa medida, compreender a abordagem do autor
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June 27, 2022Chaotic little piece consisting of one long essay (titular) & a series of fragments. All are quite perforated with PR's own annotations so one doesn't have the sense that this is writing that was in a state ready for publishing when he left it. All the same there is a great deal of good worth lingering on here - and it reflects in interesting ways on his personal life especially w/r/t the loss of his wife & his relationship with Derrida (the fragment on D is probably my favourite in here, so heartfelt, so warm). I have the sense that this is text is rather an oddity of the oeuvre so I'm partly here for peripheral gleanings - don't expect my sweeping statements.
"A chance [of culture, upbringing] transformed into destiny by a continuous choice" - such is Ricœur's definition of his own relationship to Christianity and I find it sweet, it seems in character with his concept (not explored in this text to the full) of 'cheerfulness' (which I suspect is more effective in French) insofar as the pleasantly demotic aspect can shine. My feeling for the primary essay here is that it both suffers and exists because of Derrida's Gift of Death which runs with similar general themes (through Patočka, Kierkegaard, Heidegger) which, surprise, I think is brilliant & unfortunately for Paul does outshine this essay though I'm sure he does himself more justice elsewhere. I think the Christological emphasis is going to be the draw if one has to find overarching differences (whereas Derrida is rooted in the Old Testament, in sacrifice, in Abraham. Again an element of 'chance' being born Algerian & Jewish).
I consider this a funny sort of amuse-bouche to PR's wider thought & he's done nothing but endear himself to me
"A chance [of culture, upbringing] transformed into destiny by a continuous choice" - such is Ricœur's definition of his own relationship to Christianity and I find it sweet, it seems in character with his concept (not explored in this text to the full) of 'cheerfulness' (which I suspect is more effective in French) insofar as the pleasantly demotic aspect can shine. My feeling for the primary essay here is that it both suffers and exists because of Derrida's Gift of Death which runs with similar general themes (through Patočka, Kierkegaard, Heidegger) which, surprise, I think is brilliant & unfortunately for Paul does outshine this essay though I'm sure he does himself more justice elsewhere. I think the Christological emphasis is going to be the draw if one has to find overarching differences (whereas Derrida is rooted in the Old Testament, in sacrifice, in Abraham. Again an element of 'chance' being born Algerian & Jewish).
I consider this a funny sort of amuse-bouche to PR's wider thought & he's done nothing but endear himself to me
December 21, 2021
"Hay la simple dicha de estar aún con vida y, más que nada, el amor por la vida, compartida con aquellos a quienes amo, tanto tiempo como ella me sea dada. ¿No es la vida el don inaugural?"
Paul Ricoeur
Paul Ricoeur
December 2, 2017
If “learning finally how to live” is to learn to die, to take into account accepting absolute mortality without salvation, resurrection, or redemption, I share all the negative here.
May 29, 2016
Ricœur's work here disappoints me a little due to my mistaking this book's scope. Indeed, I approached Living Up to Death with the hope and expectation of a treatise on death. Rather, this group of writings, published posthumously, exists as fragmentary--as even evidenced in the title of the latter selection, "fragments." However, Ricœur presents diamonds in the rough regarding death's role in our life as 1) an encounter with the death of an other, 2) the event of dying (its "passing, ending, finishing" (12)), and 3) "...death itself as an active character as a third make-believe (conceptual) configuration" (22). Furthermore, included in this selection rests fragmentary writings in which Ricœur struggles with issues of his own Christian faith as well as his title as a "Christian philosopher," which he denounces--he sees himself rather as a Christian who expresses himself through philosophy, just as Bach was a Christian who expressed himself through music.
I found particularly compelling Ricœur's idea of transferring one's love of life to others due to the knowledge of one's own finitude--as Ricœur noted in a letter composed on his death bed to a friend on her death bed, "From the depths of life, a power suddenly appears, which says that being is being against death" (96). Thus he adopts a certain optimism that he holds the ability and freedom of being until death.
I don't understand the nuances and implications or Ricœur's thought as presented here. As I approached this work hoping for a scope not designed present, I plan to turn to an anthology on Ricœur as well as to his book, Memory, History, Forgetting. This book does provide excellent biographical information on Ricœur that may help certain folk's research, and the editors and translators inexhaustibly and meticulously render this facsimile.
I found particularly compelling Ricœur's idea of transferring one's love of life to others due to the knowledge of one's own finitude--as Ricœur noted in a letter composed on his death bed to a friend on her death bed, "From the depths of life, a power suddenly appears, which says that being is being against death" (96). Thus he adopts a certain optimism that he holds the ability and freedom of being until death.
I don't understand the nuances and implications or Ricœur's thought as presented here. As I approached this work hoping for a scope not designed present, I plan to turn to an anthology on Ricœur as well as to his book, Memory, History, Forgetting. This book does provide excellent biographical information on Ricœur that may help certain folk's research, and the editors and translators inexhaustibly and meticulously render this facsimile.
December 23, 2020
النص مفكك ومتشظّي، والترجمة دون المستوى تجعل المعنى يصل ضبابيًا أكثر. كما تدل على ضعف المعلومات. مثال: "أوشويتس" كترجمة لكلمة (Auschwitz). من لا يعرف "أوشفيتز"!.
في موضع آخر ترجمة ركيكة لمقتطف من قصيدة لبودلير!.
في موضع آخر ترجمة ركيكة لمقتطف من قصيدة لبودلير!.
August 9, 2018
que movida ser cristiano
November 29, 2020
العنوان العنوان
كان عنوان الكتاب جيد، مشكلة الكتاب أنهـ مسودة من أوراق بول ريكور...... أعتقد أنهـ لا يجوز أن تُنشر مسودة كتاب دون إعادة صياغة .. كانت مجردة أفكار مفككة..... الشذرات كانت أفضل
كان عنوان الكتاب جيد، مشكلة الكتاب أنهـ مسودة من أوراق بول ريكور...... أعتقد أنهـ لا يجوز أن تُنشر مسودة كتاب دون إعادة صياغة .. كانت مجردة أفكار مفككة..... الشذرات كانت أفضل
May 22, 2011
unread-able
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