1,711 research outputs found
Samuel Beckett and the Writers of Port-Royal
No full textIt has been observed that ‘the literary influences on Beckett have been far more important than has been acknowledged, and more important indeed, than the philosophical influences’ (Smith 2002: 3). The truth of this statement is evidenced by the description that scholars have given of Samuel Beckett’s relationship to seventeenth century French classicism. To date, critical interest has been limited for the most part to the figure of the philosopher René Descartes on the (fragile) grounds that Beckett was exclusively concerned with the Cartesian imperative of clarity and order, the fundamental dualism between body and mind, and Nominalism.
Together with the assumption that Beckett’s vision was essentially Cartesian, his literary filiation with Pascal was suggested by critics, but only in terms of Beckett’s formal approach to the theatre. In his short article on En attendant Godot in 1953, the playwright Jean Anouilh was among the first reviewers to suggest that Beckett’s drama synthesizes the encounter between ‘classicism’ and a ‘modern’ form of art. It is well known that Beckett retained a lifelong admiration for Pascal – indeed, Pascal was one of his ‘old chestnuts’ (Knowlson 1997: 653). Little attention has been paid, however, to the originality of Pascal’s thought, the specific nature of his prose, and the impact these might have had upon Beckett’s mature work, especially the trilogy and the subsequent short prose. Yet, in the literary and philosophical context of post-war France, Beckett’s filiation with Pascal, their corresponding preoccupations, were evident to his contemporaries, who identified Pascal as an underlying presence in his works
Izo ou l'évangile selon Pascal de Duve
No full textEn su unica novela lzo (1990), el escritor belga francófono Pascal de Duve presenta a un personaje fantasîoso influencîado por la obra del pintor Magritte-, cuya busqueda de la propia identidad desemboca en una reflexión existencial. Oda a la poesia inmanente de lavida, este cuento filosôfico, humilde evangelio de tono humorlstico, se inspira en la experiencia interior del autor que al enterarse de su seropositîvidad debe asumir la prision del cuerpo rnortal.In his only novel lzo (1990), the French-speaking Belgian writer Pascal de Duve stages a fanciful Magrittean character, whose quest for identity leads to a reflection existential. Ode to the immanent poetry of life, this philosophical tale, humble gospel with a humorous tone, is inspired by the inner experience of its author, learning at the same time time that its seropositivity the weight of a body to say.Dans son unique roman lzo (1990), !'écrivain belge francophone Pascal de Duve met en scène un personnage fantaisiste magrittien, dont la quête identitaire débouche sur une réflexion existentielle. Ode à la poésie immanente de la vie, ce conte philosophique, humble évangile au ton humoristique, s'inspire de l'expérience intérieure de son auteur, apprenant en même temps que sa séropositivité le poids d'un corps à dire
Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826
No full textgeneral view, "Vue des Tombeaux au Nord-Est de la Ville," color plate LXIII of Pascal Coste's "Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826", 1818-182
Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826
No full textgeneral view, "Vue de la Porte Bab-el-Fotouh," color plate LVII of Pascal Coste's "Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826", 1818-182
Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826
No full textsection, section of the prayer hall, and details of inscription and chandelier, Plate XXIII of Pascal Coste's "Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826
Sabil and Wikala of Dhul Fiqar Oda Bashi
No full textinterior, courtyard, "Vue de l'Okel Zoulfiqar," color plate XLIV of Pascal Coste's "Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826", 1818-182
Pascal y la inquietud de la fe
No full textThis article explores the concept of "restlessness" in Christian faith according to Blaise Pascal. The author distinguishes three types of restlessness in Pascal\u27s thought: metaphysical restlessness in the face of death, spiritual restlessness due to the world\u27s distractions, and the restlessness of salvation and sin for the believer. Pascal describes a genuine anguish in the face of finitude (death) and in the face of sin (separation from God). However, beyond that, there is a unique Christian restlessness in Pascal, one that "intensifies" responsibility by being bound to God. In "The Conversion of the Sinner" (1653), there is restlessness "about" faith, a fear of the possibility of belief. Then, in the experience of the "Memorial" (1654), there is restlessness "within" faith, a fear of losing God once one has believed and loved. It is not enough to believe, but one must continue to believe, even in uncertainty. The "Memorial" consecrates not only the memory of the past but also fidelity to what has occurred. Peace disappears in the second version, showing that faith is not a permanent state. Restlessness is constitutive of the believing existence for Pascal. It is not about achieving certainty but about continuing to believe once belief has already been embraced.Este artículo explora la noción de "inquietud" en la fe cristiana según Blaise Pascal. El autor distingue tres tipos de inquietud en Pascal: la inquietud metafísica ante la muerte, la inquietud espiritual por el extravío del mundo en la diversión, y la inquietud de la salvación y el pecado para el creyente. Pascal describe una auténtica angustia ante la finitud (la muerte) y también ante el pecado (la separación de Dios). Pero más allá, hay en Pascal una inquietud propia del cristiano, que "redobla" su responsabilidad al estar ligado a Dios. En "La conversión del pecador" (1653) aparece la inquietud "de" la fe, el temor ante la posibilidad de creer. Luego, en la experiencia del "Memorial" (1654), surge la inquietud "en" la fe, el miedo a perder a Dios una vez que se ha creído y amado. No basta con creer, sino con perseverar creyendo, en la incertidumbre. El "Memorial" no consagra sólo el recuerdo del pasado, sino la fidelidad a lo sucedido. La paz desaparece en la segunda versión, mostrando que la fe no es un estado permanente. La inquietud es constitutiva de la existencia creyente para Pascal. No se trata de alcanzar la certidumbre, sino de continuar creyendo cuando ya se ha creído
Gamia el-Muaiyad
No full textinterior, qibla wall, "Vue de la Niche du Sanctuaire et de la Chaire de la Mosquee el Moyed"," color plate XXVIII of Pascal Coste's "Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826", 1818-182
Tomb of the Family of Muhammad 'Ali
No full textinterior, "Vue des Tombeaux de la Famille de Mohamed-Aly-Pacha, dans le Cimetiere de l'Imam," color plate LXIV of Pascal Coste's "Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826", 1818-182
Sabil Kuttab of Ibrahim Bey El Kabir
No full textexterior, "Vue de la Fontaine et de l'Ecole d'Jsmayl-Bey sur la Rue Souo-el-Asr," color plate LII of Pascal Coste's "Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826", 1818-182
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