Michel Henry, Phénoménologie matérielle, éd. PUF, 1990, p. 178
Books on Phenomenology of Life, Material Phenomenology (1990)
Original: (co) La communauté est une nappe affective souterraine et chacun boit la même eau à cette source et à ce puits qu'il est lui-même – mais sans le savoir, sans se distinguer de lui-même, de l'autre ni du Fond.
Michel Henry: Other
Michel Henry was French writer. Explore interesting quotes on other.
Source: Michel Henry, Material Phenomenology, Fordham University Press, 2008, p. 120
Source: Books on Phenomenology and Life, Material Phenomenology (1990)
Source: Michel Henry, Material Phenomenology, Fordham University Press, 2008, p. 2-3
Source: Books on Phenomenology and Life, Material Phenomenology (1990)
Source: Michel Henry, Material Phenomenology, Fordham University Press, 2008, p. 2
Source: Books on Phenomenology and Life, Material Phenomenology (1990)
Michel Henry, Barbarism, Continuum, 2012, p. 97
Books on Culture and Barbarism, Barbarism (1987)
Books on Religion and Christianity, I am the Truth. Toward a philosophy of Christianity (1996)
Source: Michel Henry, I am the Truth. Toward a Philosophy of Christianity, translated by Susan Emanuel, Stanford University Press, 2003, p. 30
Books on Religion and Christianity, I am the Truth. Toward a philosophy of Christianity (1996)
Source: Michel Henry, I am the Truth. Toward a Philosophy of Christianity, translated by Susan Emanuel, Stanford University Press, 2003, p. 27-28
Books on Religion and Christianity, I am the Truth. Toward a philosophy of Christianity (1996)
Source: Michel Henry, I am the Truth. Toward a Philosophy of Christianity, translated by Susan Emanuel, Stanford University Press, 2003, p. 27
Books on Religion and Christianity, I am the Truth. Toward a philosophy of Christianity (1996)
Source: Michel Henry, I am the Truth. Toward a Philosophy of Christianity, translated by Susan Emanuel, Stanford University Press, 2003, p. 9
Books on Culture and Barbarism, Seeing the Invisible: On Kandinsky (1988)
Source: Michel Henry, Seeing the invisible: On Kandinsky, Continuum, 2009, p. 107