2019.8.11 瑪格裏特·尤瑟納爾 Marguerite Yourcenar的法蘭西院士就職演說，主要談Roger Caillois卡依瓦的作品。
- Roger Caillois, 1971–1978, essayist and sociologist
- Marguerite Yourcenar, 1980–1987, novelist and essayist
ロジェ・カイヨワ（Roger Caillois、羅歇 卡依瓦 1913年3月3日 - 1978年12月21日）は、フランスの文芸批評家、社会学者、哲学者。神話、戦争、遊び、夢など、多岐にわたる研究・著作をした。
In 1980, Yourcenar was the first female member elected to the Académie française. An anecdote tells of how the bathroom labels were then changed in this male-dominated institution: "Messieurs|Marguerite Yourcenar" (Gents/Marguerite Yourcenar). She published many novels, essays, and poems, as well as three volumes of memoirs.
『斜線』中原好文訳，思索社，1978
Roger Caillois （ロジェ・カイヨワ） : Obliques 1975
我們可以知道日本至少翻譯他的半打著作。
這位法國『不朽的』院士，wiki 的介紹竟說他最為人記得的是主編的UNESCO
雜誌和引進中南美文學到法文圈
Today Caillois is remembered for founding and editing Diogenes, an interdisciplinary journal funded by UNESCO, and Southern Cross , a translation of contemporary Latin American authors published by Gallimard that is responsible for introducing these authors to the French-speaking public.
以下是英文簡介，日本岩波有兩譯本：
1958年 『遊びと人間』（Les jeux et les hommes）
Caillois' key ideas on play[edit]
Caillois built critically on an earlier theory of play developed by the Dutch cultural historian Johan Huizinga in his book Homo Ludens(1938). Huizinga had discussed the importance of play as an element of culture and society. He used the term "Play Theory" to define the conceptual space in which play occurs, and argued that play is a necessary (though not sufficient) condition for the generation of culture.
Caillois began his own book Man, Play and Games (1961)[4] with Huizinga's definition of play:
Caillois disputed Huizinga's emphasis on competition in play. He also noted the considerable difficulty in arriving at a comprehensive definition of play, concluding that play is best described by six core characteristics:
- 1. it is free, or not obligatory
- 2. it is separate from the routine of life, occupying its own time and space
- 3. it is uncertain, so that the results of play cannot be pre-determined and the player's initiative is involved
- 4. it is unproductive in that it creates no wealth, and ends as it begins economically speaking
- 5. it is governed by rules that suspend ordinary laws and behaviours and that must be followed by players
- 6. it involves imagined realities that may be set against 'real life'.
Caillois' definition has itself been criticized by subsequent thinkers;[6] and ultimately, in spite Caillois' attempt at a definitive treatment, definitions of play remain open to negotiation.
Caillois distinguished four categories of games:
- Agon, or competition. It's the form of play in which a specific set of skills is put to the test among players (strength, intelligence, memory). The winner is who proves to have mastery of said skill through the game, for example a quiz game is a competition of intelligence, the winner proves that it's more intelligent than the other players. E.g. chess.
- Alea, or chance, the opposite of Agon, Caillois describes Alea as "the resignation of will, an abandonment to destiny." If Agon used the skills of players to determinate a victor Alea leaves that to luck, an external agent decides who the victor is. E.g. playing a slot machine.
- Mimicry, or mimesis, or role playing Caillois defines it as "When the individual plays to believe, to make himself or others believe that he is different from himself." E.g. playing an online role-playing game.
- Ilinx (Greek for "whirlpool"), or vertigo, in the sense of altering perception by experiencing a strong emotion (panic, fear, ecstasy) the stronger the emotion is, the stronger the sense of excitement and fun becomes. E.g. taking hallucinogens, riding roller coasters, children spinning until they fall down.
It's worth noting that these categories can be combined to create a more diverse experience and enhance the players interaction, for example poker is a form of Agon-Alea, Alea is present in the form of the cards and their combinations, but it's not the only winning factor; since Agon is present in the form of bluffing, making your opponent think you have better cards by rising the bet, therefore putting pressure on the other players and thus making it possible to win by having a card combination but winning by implementing the bluff skill.
Caillois also described a dualistic polarity within which the four categories of games can be variously located:
- Paidia or uncontrolled fantasy, it's spontaneous play through improvisation, the rules are created during playing time. E.g. concertsand festivals.
- Ludus which requires effort, patience, skill, or ingenuity, the rules are set from the beginning and the game was designed before playing time. E.g. the Chinese game of Go.
Caillois disagreed particularly with Huizinga's treatment of gambling. Huizinga had argued in Homo Ludens that the risk of death or of losing money corrupts the freedom of "pure play". Thus to Huizinga card-games are not play but "deadly earnest business". Moreover, Huizinga considered gambling to be a "futile activity" which inflicts damage on society. Thus Huizinga argued that gambling is a corruption of a more original form of play.
Against this, Caillois argued that gambling is a true game, a mode of play that falls somewhere between games of skill or competition and games of chance (i.e. between the Agon and Alea categories). Whether or not a game involves money or a risk of death, it can be considered a form of Agon or Alea as long as it provides social activity and triumph for the winner. Gambling is "like a combat in which equality of chances is artificially created, in order that adversaries should confront each other under ideal conditions, susceptible of giving precise and incontestable value to the winner’s triumph."[7]
Caillois' interest in mimicry[edit]
When Caillois worked with Bataille at the College of Sociology, they worked on two essays on insects in the 1930s: ‘La mante religieuse. De la biologie à la psychanalyse’[8] (1934) and ‘Mimétisme et la psychasthénie légendaire’[9] (1935) Caillois identifies "the praying mantis and mimicking animals as nature’s automatons and masquerades." He formulates "in his peculiarly naturalist fashion what it would mean to act and create without the intervention of the sovereign ego, that magnificent artifact of the modern West that surrealism and the avant-garde have taken such drastic measures to counteract." These articles "might read like two obscurantist entomological studies that, in a way some would describe as bizarre, try to contradict all evolutionary explications for animal cannibalism and mimicry. Their publication in the context of [the surrealist journal] Minotaure makes it possible to see them as the search for figures that evidence the possibility of intelligence without thought, creativity without art, and agency in the absence of the (human) agent."[10]
----法蘭西院士就職演說：保羅·瓦勒里的
2020.4.26 讀 Wilson 大力批評保羅·瓦勒里的自以為是.....
Wilson worried in Axel's Castle about the relativism Tzara predicted as being ... It seemed to Wilson that writers "such as W. B. Yeats, James Joyce, T. S. Eliot, Gertrude Stein, Marcel Proust, and Paul Valery represent[ed] the culmination of a self-conscious and very important literary movement" whose work was "largely a ... https://en.wikipedia.org/wiki/Axel%27s_Castle
2017.10.15 讀
法蘭西院士就職演說 上海社會科學院，2006
每冊3場就職演說
讓·羅斯丹在法蘭西科學院就職儀式上的致辭和於勤·羅曼的答辭
歐仁·尤奈斯庫法蘭西科學院就職儀式上的致辭和讓·德萊的答辭
阿蘭·佩雷菲特在法蘭西科學院就職儀式上的致辭和克勞德·列維-斯特勞斯的答辭
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作者 ／ 亨利．德．蒙泰朗/ 瑪格里特．尤瑟納爾/ 保爾．瓦雷裏
譯者 ／ 桂裕芳/ 吳康如
法蘭西院士就職演說: 蒙泰朗，尤瑟納爾，瓦雷裏
目錄
亨利·德·蒙泰朗
在法蘭西科學院就職儀式上的致辭和
萊維·米爾普瓦公爵的答辭
瑪格裏特·尤瑟納爾
在法蘭西科學院就職儀式上的致辭和
讓·多爾梅松的答辭
本列表按席位編號列出了歷任法蘭西學術院院士。學術院由四十位院士組成，為終身制。在一位院士去世後，由其他院士補選產生新任院士填補其空缺。列表中人名後的日期為其院士任期。
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