Le scepticisme intellectuel de M. Bourget s´allia toujours avec un fond
ellauri115.html on line 418: In hindsight, it seems unlikely that they were ever going to get along, personally or intellectually. Hume was a combination of reason, doubt and scepticism. Rousseau was a creature of feeling, alienation, imagination and certainty. While Hume's outlook was unadventurous and temperate, Rousseau was by instinct rebellious; Hume was an optimist, Rousseau a pessimist; Hume gregarious, Rousseau a loner. Hume was disposed to compromise, Rousseau to confrontation. In style, Rousseau revelled in paradox; Hume revered clarity. Rousseau's language was pyrotechnical and emotional, Hume's straightforward and dispassionate.
ellauri119.html on line 460: Now a fast forward to French fries and scepticism. Alongside the passion for merging that marked Romantic love, a more sceptical French tradition can be traced from Stendhal onwards. Stendhal's theory of crystallization implied an imaginative readiness for love, which only needed a single trigger for the object to be imbued with every fantasised perfection. Proust went further, singling out absence, inaccessibility or jealousy as the necessary precipitants of love. Lacan would almost parody the tradition with his saying that "love is giving something you haven't got to someone who doesn't exist". A post-Lacanian like Luce Irigaray would then struggle to find room for love in a world that will "reduce the other to the same...emphasizing eroticism to the detriment of love, under the cover of sexual liberation".
ellauri191.html on line 1862: "that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny"
xxx/ellauri010.html on line 49: Whether they may sow scepticism to reap hell, jotain ihmeen uskonpuutetta ja ateismia,
xxx/ellauri202.html on line 227: Après le Crime de Sylvestre Bonnard (1881), où il a voulu camper (esquisser) son propre personnage, A. France a successivement publié, dans un registre très varié, empreint de scepticisme et d'une ironie toute voltairienne, la Rôtisserie de la reine Pédauque (1893), si différente du Lys rouge (1894), double hommage à Mme de Caillavet et à l'Italie, du récit de fiction politique (l'Île des pingouins, 1908) ou de la fresque révolutionnaire (Les dieux ont soif, 1912).
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