Piaget poète. Avec deux sonnets de 1918.

History of Psychology, 15(3), 283-288. doi:10.1037/a0025930, 2012

In this article, I use a new book about Jean Piaget to introduce a new historical method: examining “psychological factories.” I also discuss some of the ways that “Great Men” are presented in the literature, as well as opportunities for new projects if one approaches the history of the discipline differently and examines the conditions that made that greatness possible. To that end, the article includes many details about Piaget that have never before been discussed in English. Attention is drawn, in particular, to Piaget's collaborators: the hundreds of workers at his factory in Geneva, many of whom were women.

Journal of the History of the Behavioral Sciences, 1986

The Poems of Francois Villon, 1913

Translated by: H. de Vere Stacpoole | London: Hutchinson Co.

2007

Exploring the boundaries of one of the most contested fields of literary study--a field that in fact shares territory with philology, aesthetics, cultural theory, philosophy, and cybernetics--this volume gathers a body of critical writings that, taken together, broadly delineate a possible poetics of the contemporary. In these essays, the most interesting and distinguished theorists in the field renegotiate the contours of what might constitute "contemporary poetics," ranging from the historical advent of concrete poetry to the current technopoetics of cyberspace. Concerned with a poetics that extends beyond our own time, as a mere marker of present-day literary activity, their work addresses the limits of a writing "practice"--beginning with Stéphane Mallarmé in the late nineteenth century--that engages concretely with what it means to be contemporary. Contributors: Charles Bernstein, Marjorie Perloff, Kevin Nolan, Donald F. Theall, Bob Perelman, Simon Critchley, D.J. Huppatz, Michel Delville, Andrew Norris, Ricardo L. Nirenberg, Keston Sutherland, Nicole Tomlinson, Julian Savage, Bruce Andrews, Augusto de Campos, Darren Tofts, Gregory L. Ulmer, J. Hillis Miller, McKenzie Wark, Alan Sondheim, Louis Armand, Steve McCaffery, Allen Fisher.

Autour d’Edouard Glissant, 2008

French Studies, 2012

Journal of Research in Science Teaching, 1964

The article discusses little known spiritual themes from Piaget’s life and work. Piaget wrote about many aspects of spirituality, identifying God with the evolution of life into the Good — a theme that echoes the perspectives of many contemporary transpersonal authors. Although Piaget produced most of his spiritual work in the first half of his life, there is evidence that these themes continued to be important for Piaget in later life. A characterization of Piaget as a transpersonalist and mystic as well as a psychologist and epistemologist is appropriate. Arguably Piaget’s spiritual experiences motivated the world famous psychological studies themselves. The article seeks to inform readers of the nature of Piaget’s spirituality, whilst setting that spirituality in the context of the changing relationship between qualitative and quantitative data sources in the history of the study of consciousness.

2002

What is it about the sonnet that contemporary poets feel compelled to revisit, while also deviating from its conventional attributes? Even as the sonnet was first being adapted from the Italian language into English it immediately sounded different from its Italian models. Thomas Wyatt translated Petrarch in ways that were somewhat idiosyncratic, and that suited his particular aims as a poet. He did not always write in what we now think of as conventional poetic metre or rhythms. His sonnets indicate a reluctance to find easy solutions to the problem of writing truthfully, and a recognition that poetic form often has to give way to various kinds of awkwardness if it is to register the sometimes messy travails of thought and feeling. Almost five centuries later, in the age of so-called ‘free verse’, the sonnet retains a particular allure – and continues to invite what one may call discrepancy. The ongoing experiment with the form may suggest that it has a close relationship to certain fundamental poetic compulsions. It asserts itself persistently and is, more than a set of explicitly identifiable properties, a poetic centre of gravity that draws in even the untidiest of its relations. Two poets here investigate the untidiness of English sonnets in their earliest manifestations, and explore how – in their own recent work – they have used and adapted the form for their own purposes.