Jean francois lyotard biography of donald

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Lyotard came to Algeria at a propitious time: near start of the Algerian revolution that would ultimately liberate the country from France in 1962, the colony had a revolutionary air that he inhaled in full. Lyotard is clear that subjects are only such in the way that they move and are produced by moves within different language games.

Review: Keith Crome (Cultural Politics). Entretien avec Giairo Daghini", Change International 2, May 1984, pp 42-47. Within each phrase regimen, there is a certain play, since there may be ambiguities along each aspect above. The ‘differend’ is the name Jean-François Lyotard gives to the silencing of a player in a language game.

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• L’Assassinat de l’expérience par la peinture, Monory, Bègles: Castor Astral, 1984.
  

  A key figure in contemporary French philosophy, his interdisciplinary discourse covers a wide variety of topics including knowledge and communication; the human body; modern and postmodern art, literature, and music; film; time and memory; space, the city, and landscape; the sublime; and the relation between aesthetics and politics.

  The differend marks the silence of an impossibility of phrasing an injustice. Nevertheless, while he remained a man of his time—always responding and making advances in the dominant schools of French thought through which he lived—his work continues to speak to those influenced by those fields, as well as new movements in Continental realisms, aesthetics, and posthumanism.

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  He passed away in Paris during the night of April 20–21, 1998.

  Jean-François Lyotard was a political activist along generally Marxist lines through the ’50s and ’60s until making a radical break with the tenets of Marxism while making the turn to postmodernism in the ’80s.

  • Just Gaming, trans.

    (Postmodern Condition, 5)

    One need only see the decimation of the U.S.’s rust belt communities and the outsized economic and political role of Silicon Valley and the banking sectors in London and New York as proof of Lyotard’s claims. He returned to Paris in 1959, becoming until 1966 a maître-assistant at the Sorbonne, when he finally gained a position in the philosophy department at the University of Paris X, Nanterre.

    A key figure in contemporary French philosophy, his interdisciplinary discourse covers a wide variety of topics including knowledge and communication; the human body; modernist and postmodern art, literature, and music; film; time and memory; space, the city, and landscape; the sublime; and the relation between aesthetics and politics.

    Lyotard argues that notions of justice and injustice do in fact remain in postmodernism. Biographical Sketch

  Born in Vincennes, France on August 10, 1924, Jean-François Lyotard was the son of Jean-Pierre Lyotard, a salesman. As he put it in a later interview, “I was against this way of thinking”, and for that reason the book was “ignored at the time because it was explicitly against structuralism” (“Resisting a Discourse of Mastery”, 191).

  To attempt the latter, Lyotard claims throughout his later works, is an attempt to control and therefore escape time:

  [I]t must never be forgotten that if thinking indeed consists in receiving the event, it follows that no-one can claim to think without being ipso facto in a position of resistance to the procedures for controlling time.

  This is the ultimate argument that art is for art’s sake. The problem, Lyotard argues, is that the sciences face two crises: one of representation, that is, that it cannot be held naively that its models present to human subjects an accurate view of the objective world, instead of paradigms in which only certain views of the world fit and which, within a few years, can be completely overturned.