Henry Corbin

Cet article a pour assise l’idée selon laquelle en revalorisant une certaine forme d’imagination, il est possible de trouver dans l’art moderne et contemporain une source et un refuge pour la spiritualité. Pour ce faire, l’auteur traite de l’autonomisation séculière de l’art au xxe siècle, une sécularisation qui en apparence s’oppose à l’art proprement religieux, mais qui dans ce mouvement de séparation repense et transforme son rapport au religieux et au spirituel, moins qu’il ne l’efface. Il situe ensuite la profondeur d’horizon ouvert par la notion d’imagination et d’imaginal, ce qui permet d’introduire l’idée du mundus imaginalis. Enfin, il rapproche l’art abstrait et l’imaginal pour montrer que l’univers auquel ces deux forces rendent attentif semble mener précisément à un monde qui leur est commun : le monde imaginal.

Abstract
This paper’s contention is that through the revaluation of a particular form of imagination, it is possible to find in modern and contemporary art a source and a refuge for spirituality. To do so, this paper studies the secularisation of art through the 20th century, a secularisation that appears to stand against religious art, but which, in this opposition, re-thinks and re-shapes its relationship to the religious and the spiritual, much more so than it erases it. The depth that the notion of imagination and imaginal creates is then presented, which allows the introduction of mundus imaginalis. Last of all, this paper compares abstract art and imaginal to show that the universe
toward which these two forces draw our attention leads precisely to their
common link: the imaginal world."

Since Freud’s essay on Narcissism, our reading of the Narcissus myth has been instrumental to identifying a specific type of personality disorder that has been increasingly seen as characteristic of modern and postmodern Western societies. But what if this reading of the ancient myth was, in itself, a narcissistic misreading? In this article, the author addresses one of her primary research interests: how a comparative reading of medieval hermeneutics of the human experience and of Jung’s depth psychology may offer us a deeper understanding of the workings of archetypal imagination. This article explores the ways in which premodern visionaries, poets, and artists from different cultural traditions consciously engaged with the images staring at them from the depths of the unconscious in an approach that resonates with Jung’s own. Those images of the depths, it turns out, deeply engage the masculine conscious side of the psyche in the retrieval of its feminine, life-restoring counterpart.

RESUMEN: Este artículo tiene como objeto realizar un análisis del motivo visual del ojo en Un chien andalou. El ojo, que en esta película es rasurado con una cuchilla, tiene una función simbólica que recorre toda la filmografía de su director. Numerosos ojos aparecen en toda su obra, desde los de los ciegos de nacimiento, una figura esencial en su cine, hasta las alusiones al ojo del espectador. En este artículo realizo una lista de las veces que aparece el motivo del ojo en la obra del cineasta aragonés y mediante los presupuestos de la teoría de la recepción interpreto el significado de dicho símbolo visual en la filmografía de su autor. Se concluye que el ojo en la obra de Luis Buñuel alude a la procedencia interior de las imágenes que componen el film, es decir, a una reflexión del mismo autor sobre su proceso creativo.

Neither Modernism nor Postmodernism provides an understanding of the human person that is adequate to reveal our relationship to the non-human world. In particular, the science of human ecology is increasingly dominated by an abstract vision that only increases our alienation from ourselves and the natural world. To change this we have to realize the necessity and power of Not Knowing that is the deepest meaning of the open-endedness of the scientific spirit. We should understand that our primary task as teachers is not to transmit knowledge, but to nurture in our students the precise and sensitive attention which the mystery of the world demands.

Simondon's poorly examined theory of imagination reveals a number of interesting possibilities. On the one hand, by grounding the function of images within the idea of a cycle, it provides an attempt of reconciliation between the assumptions that privilege either reproduction or creativity. On the other hand, his view might also be conceived as a serious alternative to various theoretical stances that characterize the problem of imagination strictly within a dichotomy between individual subject and social imaginaries. e paper proposes a reading of Simondon's lectures given between 1965 and 1966 in Sorbonne in the broader context of his philosophy and outlines the role of imagination that exceeds imagining subject as well as establishing the mode of correlation with associated milieu, which performs the conditioning of its potentiality. Rejecting the primacy of representation, Simondon's take enables one to draw the conclusion that imagination can be attributed to all living beings and conceived as the function of life.

Gilbert Durand est l’un des membres fondateurs du Centre international de recherche et d’études transdisciplinaires (CIRET), aux côtés de Basarab Nicolescu, Edgard Morin, Stéphane Lupasco, Michel Cazenave et quelques autres. Même si le terme « transdisciplinarité » ne se retrouve pas vraiment sous sa plume, se demander quel rôle on pourrait lui attribuer dans l’émergence de ce nouveau paradigme méthodologique semble tout à fait légitime, car les deux auteurs à la source de la transdisciplinarité, Jean Piaget et Stéphane Lupasco, ont été sollicités par le fondateur du Centre de recherche sur l’imaginaire de Grenoble, sans oublier sa participation constante sur deux décennies aux diverses activités scientifiques « transdisciplinaires ».
Retracer les grandes lignes de l’émergence du concept de transdisciplinarité permettra de rappeler que, si Piaget est la source historique de la transdisciplinarité,  l’esprit transdisciplinaire, particulièrement en physique, est bien antérieur. Dans cette esquisse de l’émergence de la transdisciplinarité, nous évoquerons le fait que Gilbert Durand cite aussitôt qu’en 1967 l’œuvre de Lupasco et cela exactement dans la ligne de pensée de l’époque des grands colloques internationaux qui aboutit à la charte fondatrice de la transdisciplinarité en 1994. Les questions de méthode au cœur de l’œuvre de Durand proposent de penser l’« entre » science et tradition; elles donnent une occasion d’insister sur le fait que pour lui l’événement instigateur de la séparation entre science et tradition a sa source dans l’introduction de la pensée d’Averroès en occident, hypothèse que Gilbert Durand reprend de son ami Henry Corbin. Enfin, le Cercle Eranos, où la rencontre corbino-durandienne prend place, est un lieu sans lieu qui s’opère dans un temps qui est espace, un centre qui parce qu’il est son pourtour opère naturellement la réconciliation entre science et tradition dans un esprit que l’on pourrait aujourd’hui qualifier de transdisciplinaire.

Pour traiter de la question de la non-dualité dans l’œuvre de Henry Corbin, il faut entrer d’une part dans la philosophie islamique et d’autre part analyser les deux conférences de Corbin sur la pensée d’Ibn al-!Arab et qui deviendront l’essentiel de son célèbre livre L’imagination créatrice dans le soufisme d’Ibn !Arab , car ce dernier est justement reconnu comme le fondateur de la « doctrine » de l’unicité de l’être (wa&dat al-wuj d), un concept souvent identifié au non-dualisme. D’autre part, il faudra aller au-delà d’Ibn al-!Arab et se demander ce qui, dans l’œuvre de Corbin, ouvre à la non-dualité et comment il pense celle-ci, et ce, même si le terme « non-dualité » n’a pas été repéré dans son œuvre. Corbin préfère le terme de « dualitude » et cela marque déjà la distance entre le non- dualisme de l’Advaita Ved nta et celui que l’on trouve dans la philoso- phie islamique. Où il s’agit moins de se fondre dans l’unité que d’intégrer la dualité – de la Face divine et de la face humaine, par exemple – en une unité multifacettes. Il s’agit moins d’un non-dualisme – d’une négation radicale de la dualité – que d’une dualitude, une réciprocité parfaite entre l’humain et Dieu. Enfin, cette petite exploration du problème se termine par une analyse conceptuelle et ontologique du problème de la dualitude tel qu’il se présente dans l’œuvre de Henry Corbin.

Why would a devout Catholic, a committed Protestant, and a Maoist atheist devote their lives and work to the study of esoteric aspects of Islam? How are these aspects 'good to think with'? What are the theoretical and intellectual problems to which they provide solutions? These are the questions at the heart of Esoteric Islam in Modern French Thought. The three French specialists of Islam described above form an intellectual and personal genealogy that structures the core of the text: Massignon taught Corbin, who taught Jambet in his turn. Each of them found in the esoteric a solution to otherwise insurmountable problems: desire for Massignon, certainty for Corbin, and resurrection/immortality for Jambet. Over the course of three long chapters focused on the life and work of each writer, the book maps the central place of esoteric Islam in the intellectual life of twentieth and twenty-first century France.

Table of Contents:

Introduction: Introducing the Guest

Chapter One: Louis Massignon: In the Beginning Was Desire

Chapter Two: Henry Corbin: A Certain Vision

Chapter Three: Christian Jambet's Resurrections

Epilogue: On Being True to Oneself: Esoteric Authenticities

Bibliography

Index

In recent years, the field of "Western esotericism" has been confronted by problems related to the cultural and regional demarcations it has adopted. This field is based on a longue durée narrative that underplays non-"Western" currents, including ones which, through appropriation or reactions to them, constituted major sources for it. One of the most immediate arguments against the use of the qualifier "Western" and an essentialized "West" is European en-tanglements with Islamdom. This article tackles the ambiguous place given to Islam in the narrative of "Western esotericism" and the wider intellectual and historical complex that feeds the exclusionary tendencies expressed by the "Western" in "Western esotericism." It begins by providing a historical background of the West versus East divide in order to grasp the genealogy of the discourse and locate the problems resulting from an esotericism labelled as "Western." Two major components of this narrative within which Islam is usually evoked are then highlighted: first, the sanitization of orientalist perspectives , and, second, the reliance on perennialist sources, especially the writings of Henry Corbin. Finally, the article recommends, on one level, a reflective global approach that takes into account the agency of non-Western actors in the globalization of values and concepts in modern and pre-modern eras, thus allowing us to engage in more suitable comparative practices in the study of esotericism. On another level, I have argued elsewhere that an Islamic esoteri-cism (bāṭiniyya) has a long history dating back to the ninth century at least, based on principles, epistemological paradigms, and social orientations, conceptualized and negotiated (Saif, 2019). I demonstrated there, as I do here, that this esotericism had-and still has-connections with the currents discussed in the study of "Western esotericism," especially through the Traditionalists and Sufism.

In many of the works of authors such as Moebius, Hugo Pratt, Didier Comès, Philippe Druillet, Edmond Baudoin or even Hergé or Winsor McCay, it often happens that the way of visual form abysses itself in a situation in which the rhythmic dimension of the stroke, from the unleashed sequence a suspension of the story, a kind of abyss or momentary deviation linked to an experience of ight from the visual form and, frequently, also from the story. In the expression "trance of the draftsman" the theorist Thierry Smolderen (1986) found a way of hearing a phenomenon of perceptual suspension that also compromises the reading experience. With the present article, it is less about delimiting a phenomenological category because it is dif cult to delimit than proposing a succinct re ection on the phenomenon of "trance of the draftsman" from the experience of rhythm, ritual and hermeneutics of the imaginary.

https://www.tebeosfera.com/documentos/ritmo_trance_e_intervalo_alucinatorio_hacia_un_pensar_hipnotico_en_el_comic.html

En muchas de las obras de autores como Moebius, Hugo Pratt, Didier Comès, Philippe Druillet, Edmond Baudoin o incluso Hergé o Winsor McCay sucede con frecuencia que el discurrir de la forma visual se abisma en una situación en la que la dimensión rítmica del trazo, de la secuencia desata una suspensión del relato, una especie de abismamiento o desviación momentánea ligada a una experiencia de fuga de la forma visual y, con frecuencia, también del relato. En la expresión «trance del dibujante» el teórico Thierry Smolderen (1986) encontró una forma de aludir un fenómeno de suspensión perceptiva que compromete también la experiencia de la lectura. Con el presente artículo, se trata menos de delimitar una categoría fenomenológica per se difícil de acotar que de proponer una sucinta re exión sobre el fenómeno del "trance del dibujante" desde la experiencia del ritmo, el ritual y hermenéutica de lo imaginario.

https://www.tebeosfera.com/documentos/ritmo_trance_e_intervalo_alucinatorio_hacia_un_pensar_hipnotico_en_el_comic.html

This article purports to report, without claiming to be exhaustive, on the recent dynamism within Shīʿi studies and their echoes throughout the various fields of Islamology. The first part will present a brief history of Shīʿi studies and the successive biases that have affected them. The second part will retrace the course of these studies over nine years (2009-2017), focusing on three collective works that rehabilitate in different ways Henry Corbin's analyses (m. 1979), considered outdated by some. The third part will address three areas in which recent Shīʿi studies have proved particularly fruitful: the history of early Islam; the intra-Shīʿi minorities and the origins of Islam; Islamic philosophy after Averroes (d. 1198). The sum total will reflect a decompartmentalisation of Shīʿi studies both internally, between the different currents and aspects of Shīʿism, and externally, between Shīʿism and Sunnism, philosophy or Sufism. Résumé Cet article entend rendre compte, sans prétendre à l'exhaustivité, du dynamisme récent des études shīʿites et de leurs échos dans divers champs de l'islamologie. La pre-mière partie présente un bref historique des études shīʿites et des biais successifs qui les ont affectées. La deuxième partie retrace le cours de ces études sur neuf ans (2009-2017) en prenant comme jalons trois ouvrages collectifs réhabilitant de différentes

In this article we have tried to inquire upon Seyed Javad Tabatabei's con¬cep¬tion of Islam. In other words, the question is whether we can talk about some type of Islamology in the discourse represented by him. It should be noted that he has not written any specific work on Islamology as such but this does not mean that we cannot reconstruct his views on Islam.
In order to understand his views on Islam as a religion we need to in-ves¬ti¬ga¬te his comparative approach in regard to Christianity and the different me¬taphy¬sics which are represented by these two religions respectively as conceptualized by Se¬yed Javad Tabatabei.
One may argue that he has not focused on religion but this is a very shallow cri¬tique as one can find some kind of Corbanism (referring to Henry Corbin) in Ta¬batabaei's frame of reference which needs to be taken into consideration. Ta¬king all this into account, the author investigates the type of Islamology which he con¬ceptualizes in his work and tries  to find out how Tabatabei is interpreting such con¬cepts as secular, urf, sharia' and laic?

In the Islamic tradition, Mulla Sadra is foremost among the philosophers who have dealt with the issue of prophecy from all three theological, philosophical, and mystical perspectives. Among Western scholars of religion, Henry Corbin is the most prominent commentator of prophetic wisdom, who has provided a mystical reading of the problem of prophecy drawing on the ideas of Muslim philosophers. Given the wide scope of the works and ideas of Corbin regarding prophecy, this essay examines how much Corbin was influenced by Mulla Sadra's ideas about the effects of revealed teachings on humankind. The esoteric nature of prophetic wisdom, the role of God's saints in decoding sacred scriptures, the ontological and epistemological foundations of hermeneutics, and the correspondence between textual hermeneutics and hermeneutics of the soul represent the key constituents of Corbin's accounts regarding the educational effects of revealed teachings, whereas Mulla Sadra's doctrines of wilayat, the world of ideas, the active intellect, co-originality of revelation and inspiration, and the unity of the knower and the known have played a vital role in their development.

This chapter argues that Paul Devereux's essentially mythopoeic writings on so-called 'Earth Lights' show that the paranormal may be more successful than moral or political exhortation at transforming humanity's relationship with nature and the cosmos as a whole. Devereux's Earth Lights hypothesis is intended to account for UFO and other paranormal experiences by reference to geophysical forces. I demonstrate that his ideas in fact involve a complex interplay of forces which takes place on somatic, psychic, imaginal, emotional and spiritual levels, creating intricate reciprocal relationships which can transform the experiencer and the world itself. The piece draws on the work of Henry Corbin to argue that the UFO vision is thus a kind of sacrament, in which the witness is transfigured, the world becomes Eden, and all is shot through with the presence of the divine.

Biographie intellectuelle d'un auteur majeur de l'islam contemporain.
Né en Iran d'une famille de scientifiques, de savants et d'hommes d'État, Seyyed Hossein Nasr s'inscrit, dès la fin de ses études à Harvard et au MIT, dans le sillage de "l'école traditionnelle" (dont les figures majeures sont René Guénon et Frithjof Schuon). Auteur prolifique (métaphysique, philosophie, histoire des sciences), proche collaborateur d'universitaires comme qu'Henry Corbin, il incarne la figure de l'intellectuel telle que pensée par l'école traditionnelle.
[À paraître]

The construction of a visuality based on the sequence in the images of Dante’s Divine Comedy constitutes a reference for all the forms of thought about the expressive conditions of comic books and graphic novels. Both the otherworldly journey and the encounter with the divine in Dante’s work and the construction of a moral-theological structure are also forms projected on some authors with a strongly literary background. The works of Hugo Pratt, Federico Fellini and Milo Manara and Makyo have created a thinking space about the sequenciality of images in which the figure of the traveller placed before a panel of images is echoed as a way of meditating on the power of the imagination.

La construcción de una visualidad fundada sobre la secuencia en las imágenes en la Divina Comedia de Dante constituye un referente para la reflexión sobre las condiciones expresi- vas del cómic. Tanto el viaje ultramundano en la obra de Dante como la idea del tratado erudito y la construcción de una estructura teológico-moral constituyen asimismo formas que, a través de Dante, se proyectan sobre ciertos autores que han tratado de realizar una aproximación literaria al género fantástico en el cómic. Las obras de Hugo Pratt, Federico Fellini y Milo Manara y Makyo, han gestado un espacio de reflexión sobre la secuencia de imágenes. En él la figura del viajero situado ante un panel de imágenes se reitera como manera de meditar sobre la potencia de la imaginación en el espacio entre imágenes.

According to Henry Corbin, in Islamic philosophy, “divine language" is seen as an inexhaustible creative power that ensures nature’s ever-changing configuration. In this essay, I claim that American poet Kazim Ali’s compositions show us that there is continuity between divine, natural and poetic language and that it is through the verbal acts of his creatures that God’s scripture goes on writing itself. Ali’s work is thus in line with Islam’s “lettristic” tradition, which shows us the religion allows room for the kind of broad-minded views about natural diversity and sexuality that some critics accuse the West of smuggling into Islamic countries.

Il contributo si focalizza sul confronto tra la Commedia e il Sayr al-
‘Ibād ilà l-Ma‘ād (Viaggio dei servi nel Regno del Ritorno) di Sanā’i di Ghazna (XII sec.), autore di un affascinante Himmelsreise, a suo tempo segnalato da R. A. Nicholson come “a Persian forerunner of Dante”. Il confronto, partendo da alcune intuizioni di Louis Massignon (espresse in Les recherches d’Asín Palacios sur Dante: le problème des influences musulmanes sur la Chrétienté médiévale et les lois de l’imitation littéraire, in “Revue du monde musulmane”, XXXVI, 1919) e da una griglia interpretativa proposta da Joan Petru Couliano basata sulla distinzione tra Call Apocalypses e Quest Apocalypses (Psychanodia I, Brill, Leiden 1983), si concentra su certi suggestivi paralleli riguardanti alcune idee guida condivise da Dante e Sanā’i: la sostituzione dell’eroe mistico al profeta del modello, il sogno come strumento privilegiato di conoscenza soprannaturale, le figure di intermediari personali (Beatrice e il cadì di Sarakhs) come “doppio celeste” e guida agli arcani dell’aldilà.

Dire de l’islam qu’il s’agit d’une religion relève du truisme. Dire qu’il existe des courants philosophiques divers dans les pays où l’islam est pratiqué est aussi de l’ordre du consensus. Mais affirmer qu’il y a une «philosophie islamique» et que celle-ci n’est ni une théologie ni une philosophie au sens nous l’entendons en Europe et en Amérique n’est pas une chose facile à comprendre. Pourtant penser la philosophique islamique pourrait être une manière renouve­lante de se réapproprier les rapports Orient-Occident avec toutes les difficultés que sous-entend cette catégorisation à l’heure des réseaux planétaires et de la globalisation.

We outline a specific profile of philosophy of religion emerging from the work of Henry Corbin, a thinker who engages with contemporary issues, interpreter of the Iranian Shi'ite tradition and of the currents of Gnosis,. The first chapter is devoted to the phenomenological method of Docetism.

"In this paper we seek to outline some aspects evidencing imaginary’s
communicational dimension. This means we need to pay attention to the way
collective imagining shapes social reality and how publicity contributes to this
process. Suggesting a close link between imaginary, society and publicity, we
name “public imaginal” to the dynamic, symbolic and complex set of diverse and
heterogeneous imaginaries that permeate societies.
Keywords: Imaginary; Imaginal; Publicity; Communication; Mediatization"

In becoming aware of we go beyond our mind into the spaciousness of awareness, the great expanse. Going beyond our mind into the spaciousness of awareness the radiance of awareness becomes manifest. Within the radiance of awareness we are opened to experiencethe radiance of phenomena. Experiencing the radiance of our own awareness allows us to experience awareness the radiance of phenomena. Self liberation is experiencing the radiance of phenomena within the spaciousness of phenomena. Radiance and spaciousness are in oneness and are completely indivisible. In being in the field of awareness and gazing into awareness both within andwithout, you and I are able to experience the oneness of spaciousness and appearance, the indivisibility of emptiness and appearance, the indivisibility of radiance and appearance. You can experience the radiance of phenomena. The radiance of your own awareness and the radiance of all phenomena are in non-duality and are indivisible. You can even experience the self arising of radiance as the elements, the light particles, the luminous rays of radiance becoming phenomena. Light appearing as appearance.

1. In the Dzogchen tantric teachings, the view is the purity of all phenomena. The pure view is the all-encompassing purity of every creature and every thing. The pure view is of the inherent nature of purity of being. Primordially pure, all phenomena form a seamless tapestry woven from the qualities of enlightenment. All beings are of the arrangement of light. As Dudjom Lingpa states " I, a practitioner of the great perfection, recognize all phenomena to be naked awareness." Awakened awareness with awakened phenomena.

Résumé
Henry Corbin est-il un philosophe? À la lumière de notre recherche, nous sommes obligés de répondre par l’affirmative, il dit d’ailleurs de lui-même « je ne suis à vrai dire ni un germaniste ni même un orientaliste, mais un philosophe poursuivant sa Quête partout où l’Esprit le guide.»
Mais comment comprendre et classifier un philosophe dont la Quête est guidée par l’Esprit? Henry Corbin a développé ce que nous devons nommer une « philosophie prophétique » et c’est par l’exploration de sa biographie et de ses influences de jeunesses, nommément Heidegger et Hamann, que nous pouvons esquisser les assises de sa méthode phénoménologico-herméneutique.
Cette recherche se termine par l’exploration de l’espace (monde imaginal) et de l’organe de connaissance (imagination active) auquel nous rend attentifs la philosophie prophétique de Henry Corbin. Un monde où ont lieu et leur lieu les théophanies, les épopées mystiques et les visions des mystiques et théosophes.

Abstract
Is Henry Corbin a philosopher? According to our research, we are obliged to answer in the affirmative, as he says of himself: "Indeed, I am not nor a germanist, not even an orientalist but a philosopher pursuing his quest wherever the spirit guides him."
But how can one understand and categorize a philosopher whose quest is guided by the spirit? Henry Corbin has developed what we must call a "prophetic philosophy," and by exploring his biography and youthful influences, namely Heidegger and Hamann, we can lay the foundation of its phenomenologico-hermeneutical method.
This research ends with the exploration of the space (imaginal world) and of the organ of knowledge (active imagination) which make us pay attention to the prophetic philosophy of Henry Corbin: a world in which the theophany, the mystical epics, and the visions of mystics and theosophists come about.

"Résumé
Henry Corbin a écrit qu’« un Maître Eckhart et un Jacob Boehme eussent parfaitement compris Ibn ʿArabî, et réciproquement. » Mais comment assurer ce dialogue et cette compréhension réciproque pressentie par Henry Corbin? Cette recherche porte essentiellement sur les conditions de possibilités de ce dialogue, puisque la comparaison entre Ibn al-ʿArabī et Böhme n’est encore qu’à ses balbutiements. En choisissant le prisme de l’imagination, le but est double : pouvoir traiter de manière non réductrice les phénomènes spirituels en parcourant et analysant la logique spécifique de l’imagination ; et, sous l’égide de la hiérohistoire, explorer le rôle de l’imagination dans la métaphysique et l’éthique d’Ibn al-ʿArabī et de Böhme. Il s’agit donc d’essayer de lire Ibn al-ʿArabī et Böhme comme ils lisaient eux-mêmes le Livre révélé de leur tradition respective. Au final, il appert que le théophanisme caractéristique tant de la métaphysique d’Ibn al-ʿArabī que de celle de Böhme est une riche terre d’accueil de l’imagination et de l’imaginal. Et que, si la comparaison strictu sensu entre Ibn al-ʿArabī et Böhme est impossible, l’esprit comparatif et transdisciplinaire de cette recherche, ainsi que la méthode phénoménologico-herméneutique, offrent de nouvelles avenues de réappropriation pour l’ensemble des phénomènes spirituels.

Abstract
Henry Corbin wrote that a “Meister Eckhart and Jacob Boehme would fully understand Ibn ʿArabî, and vice versa.” But how can we ensure this dialogue and mutual understanding anticipated by Henry Corbin? This research is essentially on the conditions of possibilities of this dialogue, especially because the comparison between Ibn al-ʿArabī and Böhme is still in its infancy. By choosing the prism of the imagination, the goal is twofold: approach spiritual phenomena in a non-reductive way by browsing and analyzing the specific logic of imagination; and, under the auspices of the concept of hierohistory, explore the role of imagination in the metaphysics and ethics of Ibn al-ʿArabī and Böhme. It is therefore an effort to read Ibn al-ʿArabī and Böhme as they read themselves the revealed book of their respective tradition. Finally, it appears that the theophanism characteristic of the metaphysics of both Ibn al-ʿArabī and Böhme is a rich haven for imagination and imaginal. If the comparison between Ibn al-ʿArabī and Böhme is stricto sensu impossible, the comparative and transdisciplinary spirit of this research, as well as its the phenomenological-hermeneutic method, opens up new avenues of re-appropriation for all spirituals phenomena."

La figure de la Sophia, chez Henry Corbin.

Télécharger le fichier audio, plutôt que de l'écouter en ligne la qualité sera meilleure.

Résumé :

Il s’agit de tenter une percée dans la conscience sophianique de Henry Corbin et de se demander pourquoi la figure de la Sophia apparaît dans presque tous ses textes. Ève, Daêna, Fatima, Madonna Intelligenza, la Vierge-Mère, le féminin-créateur, la shekinah, l’Ange tutélaire, les Fravartis ne sont que quelques unes des dénominations de la figure de la Sophia. Mais qui est Sophia? Et quel est son rôle dans l’amour que porte Henry Corbin à la Sagesse?

Aborder cette question fera ressortir deux éléments. Le premier est contextuel à la pensée de Henry Corbin. Il mettra en lumière la source de la sophianité dans son œuvre, à savoir l’influence de l’orthodoxie de Berdiaev et de Boulgakov. Une influence qui semble immensément plus importante que celle d’Heidegger par exemple. Le deuxième élément conduira au cœur du problème du Paradoxe du monothéisme. Ce recueil, qui constitue peut-être l’éthos de sa philosophie, propose de renouer avec son ange, avec son partenaire céleste pour résoudre le problème métaphysique du monothéisme. Ce partenaire céleste, ce témoin dans le Ciel, est-ce Sophia?

Il y aura au final à se demander si l’amour de la sagesse explorée par Henry Corbin n’implique pas une théosophie plutôt qu’une philosophie. Selon la perspective corbinienne, la juxtaposition des mots formants le thème de notre colloque « femme, eros et philosophie » impliquent-ils l’ajout d’un niveau de réalité théosophique complémentaire à la philosophie?

Abstract

This is an attempt to break through the sophianic consciousness of Henry Corbin and ask why the figure of Sophia appears in almost every text. Who is Sophia? And what is its role in Henry Corbin's love of wisdom?
Addressing this issue will highlight two points. The first one is contextual to the thought of Henry Corbin. It will highlight the source of the sophianicity in his work, namely the influence of Berdyaev and Bulgakov; an influence that seems to be vastly more important than the Heidegger's influence. The second element will lead to the heart of the problem in The paradox of monotheism. This book, which is perhaps the ethos of his philosophy, proposes to reconnect with angelology to solve the metaphysical problem of monotheism. This celestial partner, this witness in heaven, is it Sophia?
Finally it must be asked whether the love of wisd om explored by Henry Corbin involves rather theosophy than philosophy. In Corbinian's perspective, is the theme of our conference "Women, eros and philosophy" involve an additional theosophical level of reality complementary to the philosophy?