{"id":23087,"date":"2022-08-24T17:14:17","date_gmt":"2022-08-24T15:14:17","guid":{"rendered":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/?p=23087"},"modified":"2023-02-24T14:37:06","modified_gmt":"2023-02-24T13:37:06","slug":"elisabeth-hubmann-geneve-organ-improvisations-in-response-to-simone-weils-les-lutins-du-feu-ca-1921-22","status":"publish","type":"post","link":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/elisabeth-hubmann-geneve-organ-improvisations-in-response-to-simone-weils-les-lutins-du-feu-ca-1921-22\/","title":{"rendered":"Elisabeth Hubmann (Gen\u00e8ve): Organ improvisations in response to Simone Weil\u2019s \u201cLes Lutins du feu\u201d (ca. 1921\/22)"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"23087\" class=\"elementor elementor-23087\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-195ab9f elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"195ab9f\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-9a96527\" data-id=\"9a96527\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-8cd7e74 elementor-blockquote--skin-quotation elementor-blockquote--button-color-official elementor-widget elementor-widget-blockquote\" data-id=\"8cd7e74\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"blockquote.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<blockquote class=\"elementor-blockquote\">\n\t\t\t<p class=\"elementor-blockquote__content\">\n\t\t\t\tIl dansait, il dansait toujours, le peuple des \u00e2mes candides, des \u00e2mes des enfants qui ne sont pas encore n\u00e9s; attendant leur tour d\u2019\u00eatre des hommes, les lutins se poursuivaient sur les b\u00fbches cr\u00e9pitantes.\t\t\t<\/p>\n\t\t\t\t\t\t\t<div class=\"e-q-footer\">\n\t\t\t\t\t\t\t\t\t\t\t<cite class=\"elementor-blockquote__author\">Simone Weil, Les Lutins du feu, 1921\/22.<\/cite>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-42c1e5b elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"42c1e5b\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-bc960c1\" data-id=\"bc960c1\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c09802f elementor-widget elementor-widget-spacer\" data-id=\"c09802f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-4409eac elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"4409eac\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-53b8ad2\" data-id=\"53b8ad2\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-ce40d7b elementor-widget elementor-widget-image\" data-id=\"ce40d7b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/nature-forest-branch-leaf-flower-jungle-792948-pxhere.com_-1024x683.jpg\" class=\"attachment-large size-large wp-image-23092\" alt=\"\" srcset=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/nature-forest-branch-leaf-flower-jungle-792948-pxhere.com_-1024x683.jpg 1024w, https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/nature-forest-branch-leaf-flower-jungle-792948-pxhere.com_-300x200.jpg 300w, https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/nature-forest-branch-leaf-flower-jungle-792948-pxhere.com_-768x512.jpg 768w, https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/nature-forest-branch-leaf-flower-jungle-792948-pxhere.com_-1536x1024.jpg 1536w, https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/nature-forest-branch-leaf-flower-jungle-792948-pxhere.com_-2048x1365.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-e7945b1 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"e7945b1\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-bf8363c\" data-id=\"bf8363c\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c6c3b4d elementor-widget elementor-widget-heading\" data-id=\"c6c3b4d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h3 class=\"elementor-heading-title elementor-size-default\">ELISABETH HUBMANN<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2820b2a elementor-widget elementor-widget-image\" data-id=\"2820b2a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2020\/07\/kotva.png\" title=\"\" alt=\"\" loading=\"lazy\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-47bd116\" data-id=\"47bd116\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-03598f0 elementor-widget elementor-widget-heading\" data-id=\"03598f0\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h3 class=\"elementor-heading-title elementor-size-default\">Abstract<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-4c3888c elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"4c3888c\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-e0a08d6\" data-id=\"e0a08d6\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-fc60a13 elementor-widget elementor-widget-text-editor\" data-id=\"fc60a13\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><a href=\"https:\/\/sites.google.com\/view\/elisabethhubmann\">Elisabeth<\/a> is an organist, musicologist, and environmentalist active in Gen\u00e8ve, Amsterdam and elsewhere. Her research focuses on historical and modern organs, as well as keyboard instruments and their practice. In addition, she works on improvisation, interdisciplinary projects and ethnomusicology. Active in classical and experimental performances, Elisabeth emphasises contemporary organ music in her work to promote a new openness and transdisciplinarity in cultural-artistic and scientific-discursive settings. Moreover, she\u00a0 explores the intersections of anthropology, cultural heritage, listening practices, instrument making and lived, practice-oriented research. As a performer, she loves to play a broad repertoire from early to contemporary music on organ, fortepiano, and related keyboard instruments.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-66bbf13\" data-id=\"66bbf13\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c35021e elementor-widget elementor-widget-text-editor\" data-id=\"c35021e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>\u201cLes Lutins du feu\u201d is probably the earliest work by Simone Weil, written when she was about 12 years old. Elisabeth Hubmann conducted several improv pieces on organs in response to Weil\u2019s \u201cfirst poetry\u201d.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f1d2048 elementor-widget elementor-widget-text-editor\" data-id=\"f1d2048\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><img decoding=\"async\" class=\"alignnone size-medium wp-image-23096\" src=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/DSC04139b-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/DSC04139b-300x300.jpg 300w, https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/DSC04139b-1024x1024.jpg 1024w, https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/DSC04139b-150x150.jpg 150w, https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/DSC04139b-768x768.jpg 768w, https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-content\/uploads\/2022\/08\/DSC04139b.jpg 1280w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-d778d96 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"d778d96\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-92885c4\" data-id=\"92885c4\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-78014b6 elementor-widget elementor-widget-audio\" data-id=\"78014b6\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"audio.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-soundcloud-wrapper\">\n\t\t\t\t<iframe width=\"1600\" height=\"200\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?visual=false&amp;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F1330447252&amp;show_artwork=true&amp;maxheight=1000&amp;maxwidth=1600&amp;auto_play=false&amp;buying=true&amp;liking=true&amp;download=true&amp;sharing=true&amp;show_comments=true&amp;show_playcount=true&amp;show_user=true&amp;color\"><\/iframe>\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-088938c elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"088938c\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-376de62\" data-id=\"376de62\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-f40047a elementor-widget elementor-widget-text-editor\" data-id=\"f40047a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>T (Tom of the Denkkollektiv): We have received a very precious yet unusual gift from you: an audio file with organ music. What does one hear when listening to it?<\/p>\n<p>E (Elisabeth): One can hear many different things, depending on what they focus on. If listening while reading Weil&#8217;s poetry, one might be shocked by the conflicting setting of music in relation to the text. One who concentrates on the music might be trying to distinguish electronic sounds from organ sounds and to understand the layering of the improvisations. One who enjoys simply listening might be overwhelmed by the masses of sound.<\/p>\n<p>T: \u201cLes Lutins du feu\u201d is one of the lesser known texts by Simone Weil. Some Weil scholars assume that it is her earliest text available to us, probably written in 1921, when Weil was about 12 years old. How was your first impression of this text? Did you recognise the young age of the author?<\/p>\n<p>E: The text fascinated me very much, yet I was confused and I couldn&#8217;t construe it. I did not know many other texts by Simone Weil before, but I recognised that this one is very special, probably unusual. It was the most colourful text I had read in a long time and yet I felt it is set in darkness, sometimes scattered with little lights &#8211; when I read the text now, I feel the colours are much brighter than in my improvisations.<\/p>\n<p>T: What happened after your first encounter with the text? The final product we can now listen to consists of a recording of an improvisation that is a live, spontaneous act you have performed. Additionally, it is more than just the simple documentation of this unique \u201cevent\u201d. You amplified the recording in a manifold process of \u201cpost-production\u201d. So, we have several layers of reception, (re-)action, reflection, editing, alteration, and I guess, imitation?<\/p>\n<p>E: This was the first time someone asked me to improvise on a text. My spontaneous reaction was to read the text many times, underline words that provoke something in me and try to find sections that could help me to structure my improv. I thought about using musical language contemporary with Simone Weil, a composer that reminds me a bit of her: Jehan Alain. His music is as colourful as Simone Weil&#8217;s text and he was, as was she, very passionate, also in his christian faith. I wrote a scheme with key words and sections and chose organ stops to put the words into music, but soon I gave up modelling my work after Alain &#8211; his music is unattainable and I didn&#8217;t want to rationalise the process even more. I opted for an organ from 1918 in Amsterdam, (where I used to be an organist), so quite close to the origin of the text. Today, it has a typical electro-pneumatic action but its sound gives us us an idea about the typical soundscape in the early 20s. I played the music spontaneously from that point onwards, there was some \u201cgood\u201d music and some \u201cbad\u201d that came out. First and foremost, I am a player, not an improviser, so I felt I had to gain a bit more control by doing further creation with this material. Also, I had to let&nbsp; some time pass. I sat down at another organ, this time in Geneva, to complete the material with what, after listening to the first set of improv pieces, I felt was missing. In the meantime, I experimented the melting together of organ and synthesizer with a composer-friend and I thought of our recordings to be very apt for an ambience for this Weil text. After giving up the idea to put the text \u201cliterally\u201d into music, instead I recreated my feelings from when I was reading the text, meaking music at the centre of my endeavour. For a long time I felt especially impressed by the darkness and gloom, interrupted by scenes of light games like shimmer, burning, flashing and noises like crackling, sighing and whining. So I put these 3 experimentation situations together and worked on a dramaturgy without a clear story line, but reflecting the scenes of dance, sobbing, fight and fire, enveloped by tranquillity.<\/p>\n<p>T: After listening to your improv pieces I started to read \u201cLes Lutins du feu\u201d in a non-chronological, non-linear way. That means that I did not read the single figures, events, elements set along the dominant storyline but the initially apparent storyline as being opened, enmeshed, short-circuited by manifold agents of light, fire, and fight.<\/p>\n<p>E: First I thought the storyline would be the same as in my improv. But the wild fury dance, as described in the text, was hard to begin with. I tried several times, but never to my contentment. I also felt it is a bit too simplicist and childish for this text to translate words in notes and sentences in musical phrases. And finally, dance is a form of movement and movement in music needs preparation. Still, I can recognise the story in the music, but as you say, in a less black and white, but a more complex and rich way; in associations, amalgamations, re-interpretations. The fire that strikes down from the sky and the fight of M\u00e9gistos are combined in a similar musical idea, as are the questioning and whining. Dance is movement, sometimes in the foreground, but mostly as a swarming in the rear.<\/p>\n<p>T: Against the backdrop of some critics dismissing the text as children\u2019s artistry, it is very interesting that you explicitly felt to do something that counters all impressions of childish poetry. Was there something unsettling, irritating, provoking in the text that supported your impulse to not go too easy with it?<\/p>\n<p>E: Yes, \u201csimply\u201d the impression it made on me! We tend to judge art and many other things very often in an academic way, according to cultural, formally transmitted criteria that blind us from what we actually feel. Meanwhile, popular arts have understood very well that what counts is what it provokes and not if it is done with highest artistry or great complexity.<\/p>\n<p>T: Did you \u201cinvite\u201d other influences into your process of making music? Other composers, models, thematic elements or musical inspiration from elsewhere?<\/p>\n<p>E: Yes, it is best audible in the beginning of the piece. A synthesizer leads the way with acidity, blending into more and more levels of organ sounds. Also, the metallic percussive sounds are generated by my friend Nicolas Roulive on the synthesizer. I added some filter effects on some of the pure organ sounds as well, others I left just as they are. Talking about influences, it is often hard to name why we do things one way or another. I am inspired and marked by many different schools, teachers, composers and improvisers, but I&#8217;m neither a composer nor an improviser, but for the moment a musician trying to leave the cage of an interpreter. On a note not directly related to music, my encounters with nature, sonorities of the environment, human noises, travels, and (other people&#8217;s) characters have a huge impact too.<\/p>\n<p>T: Finally, what do you recommend: Reading the text first and then listening to your improv pieces or the other way around? Or simultaneously, or both in a repetitive, or even meditative manner?<\/p>\n<p>E: What experience do you want to have? An intellectual one? A meditation as you say? It will be a very different impression in what order you read and listen. And especially how you read and how you listen. My recommendation is to be open for confrontation and looking for a positivist effect: to learn or realize something, to allow feelings, to discover pretty atonal, cloudy, noise-music and appreciate a musical approach to Weil that is different from what you might ever have heard before.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-106864b\" data-id=\"106864b\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-0d2e6f4\" data-id=\"0d2e6f4\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-d2bd6cd elementor-widget elementor-widget-text-editor\" data-id=\"d2bd6cd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h2><b>LES LUTINS DU FEU\u00a0<\/b><\/h2><p>Le bal allait, allait&#8230; Les lutins sautaient leur joyeuse sarabande, plus haut, toujours plus haut. Les robes de lumi\u00e8re se fr\u00f4laient, rouges, jaunes, orange dor\u00e9, projetant tout autour des lueurs fantastiques. Il dansaient, les lutins de flamme, sur les b\u00fbches craquantes et le bois fendu, ils dansaient avec ivresse, bondissant et s\u2019entrechoquant.<\/p><p>Il dansait, il dansait toujours, le peuple joyeux des \u00ab Phlogos \u00bb, conduit par le plus grand, l\u2019empereur, le \u00ab M\u00e9gistos \u00bb. Ils sautaient en le suivant, s\u2019arr\u00eatant parfois pour baiser ses pieds br\u00fblants.<\/p><p>Il dansait, il dansait toujours, le peuple des \u00e2mes candides, des \u00e2mes des enfants qui ne sont pas encore n\u00e9s; attendant leur tour d\u2019\u00eatre des hommes, les lutins se poursuivaient sur les b\u00fbches cr\u00e9pitantes.<\/p><p>Tout \u00e0 coup, une grande lueur s\u2019\u00e9leva, et tous jet\u00e8rent de br\u00fblantes \u00e9tincelles : au-dessus du feu flambant, une flamme avait \u00e9lev\u00e9 sa t\u00eate alti\u00e8re. Et, dans les cr\u00e9pitements, on entendit ces mots : Phaidros M\u00e9gistos estin. \u00bb \u00ab Phaidros est M\u00e9gistos. \u00bb<\/p><p>Et la t\u00eate brillante de Phaidros s\u2019illumina de fiert\u00e9, tandis que tous, petits et grands, lui baisaient humblement les pieds, lui demandant : \u00ab Quel est ton bon plaisir? \u00bb<\/p><p>Il donna alors la main \u00e0 sa belle fianc\u00e9e, Chrys\u00e8 \u00e0 la robe d\u2019or, et dansa une \u00ab orch\u00e8sis \u00bb, la danse la plus exquise des Phlogos, o\u00f9 l\u2019on ne distinguait que des tourbillons de flammes bleues, rouges ou dor\u00e9es, o\u00f9 l\u2019\u0153il ne pouvait les suivre, o\u00f9 tous se confondaient dans une poussi\u00e8re enflamm\u00e9e.<\/p><p>Tout \u00e0 coup, tout devint obscur, et une voix sanglotante cria en cr\u00e9pitant : \u00ab Phaidros M\u00e9gistos n\u2019est plus! Phaidros M\u00e9gistos est mort! \u00bb<\/p><p>La danse cessa, il n\u2019y eut plus que des sautillements saccad\u00e9s; tous laiss\u00e8rent l\u00e0 leurs couleurs brillantes et rev\u00eatirent leurs robes de deuil, d\u2019un bleu livide. Ils pleuraient silencieusement des larmes d\u2019or.<\/p><p>Apr\u00e8s quelque temps, tous recommenc\u00e8rent \u00e0 danser, sauf Chrys\u00e8, ayant \u00e0 leur t\u00eate le lutin K\u00e9phal\u00e8.<\/p><p>Mais par instants, au milieu des \u00e9clats de rire, des sanglots d\u00e9sesp\u00e9r\u00e9s se faisaient entendre.<\/p><p>Soudain, des centaines d\u2019\u00e9tincelles sanglantes s\u2019abattirent sur les danseurs, lanc\u00e9es avec une telle force qu\u2019elles les oblig\u00e8rent \u00e0 se prosterner. Tous devinrent livides de peur. Quand tout d\u2019un coup, on vit derri\u00e8re une b\u00fbche la t\u00eate du lutin Kl\u00e9t\u00e8s, qui portait le talisman de Phaidros. Car vous savez bien, mes enfants, que tout Phlogos porte sous sa robe le talisman qui lui donne sa hauteur, sa couleur, sa beaut\u00e9, et que le vol en est puni de mort. \u00ab<\/p><p>A-t-il vol\u00e9 le cadavre ? \u00bb s\u2019\u00e9cria avec horreur Chrys\u00e8 en s\u2019avan\u00e7ant vers la b\u00fbche. Mais les \u00e9tincelles l\u2019oblig\u00e8rent \u00e0 reculer.<\/p><p>Et tous, bl\u00eames, entendirent le bruit d\u2019une lutte acharn\u00e9e. Et tout \u00e0 coup s\u2019\u00e9leva une ombre d\u2019un bleu livide, tandis que, fermant les yeux, tous s\u2019\u00e9criaient : \u00ab Le fant\u00f4me de Phaidros! \u00bb Quand ils les rouvrirent, l\u2019apparition avait disparu.<\/p><p>Tout, alentour, \u00e9tait plong\u00e9 dans l\u2019ombre. Seules, les cendres \u00e9taient rouges.<\/p><p>Bient\u00f4t, les \u00e9tincelles cess\u00e8rent, et les Phlogos cri\u00e8rent miracle : car Phaidros apparaissait, plus brillant que jamais.<\/p><p>\u00c9m\u00e9ra, en effet, l\u2019avait \u00e9tourdi, mais non tu\u00e9, et lui avait pris son talisman. Quand il reprit ses sens, ils se battirent; Phaidros, d\u00e9pouill\u00e9 de sa robe, dut fuir un instant vers le bal, mais bient\u00f4t se jeta sur \u00c9m\u00e9ra, et l\u2019\u00e9gorgea.<\/p><p>Phaidros se jeta dans les bras de sa belle fianc\u00e9e \u00e0 la robe d\u2019or (ce qui est le mariage des lutins) et ils dans\u00e8rent une \u00ab orch\u00e8sis \u00bb endiabl\u00e9e, allant plus vite que le vent, jetant des \u00e9tincelles, o\u00f9 l\u2019on ne pouvait les distinguer, o\u00f9 ils \u00e9tincelaient, voil\u00e9s par une poussi\u00e8re d\u2019or.<\/p><p>\u00a0<\/p><p>Weil, S. (1968). Les Lutins du feu. In Val\u00e9ry, P. (Ed.), <em>Po\u00e8mes, suivis de Venise sauv\u00e9e<\/em>. Paris: Gallimard, 37-39.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-58cdcc8 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"58cdcc8\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-fb0ac14\" data-id=\"fb0ac14\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-c578dd2 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"c578dd2\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-76e952e\" data-id=\"76e952e\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-2c42113 elementor-widget elementor-widget-spacer\" data-id=\"2c42113\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-75f3c45 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"75f3c45\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-cb248af\" data-id=\"cb248af\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-af6fb62 elementor-widget elementor-widget-spacer\" data-id=\"af6fb62\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-4424008 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"4424008\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-076841e\" data-id=\"076841e\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-83ac9bf elementor-widget elementor-widget-heading\" data-id=\"83ac9bf\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">New contributions:<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-585785a elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"585785a\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-adb8d53\" data-id=\"adb8d53\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-3dc82b9 elementor-grid-3 elementor-grid-tablet-2 elementor-grid-mobile-1 elementor-posts--thumbnail-top elementor-posts--show-avatar elementor-card-shadow-yes elementor-posts__hover-gradient elementor-widget elementor-widget-posts\" data-id=\"3dc82b9\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;cards_columns&quot;:&quot;3&quot;,&quot;cards_columns_tablet&quot;:&quot;2&quot;,&quot;cards_columns_mobile&quot;:&quot;1&quot;,&quot;cards_row_gap&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:35,&quot;sizes&quot;:[]},&quot;cards_row_gap_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;cards_row_gap_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"posts.cards\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-posts-container elementor-posts elementor-posts--skin-cards elementor-grid\">\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-23499 post type-post status-publish format-standard hentry category-allgemein tag--liebe-love tag--literatur-literature tag-body tag-writing infinite-scroll-item no-featured-image-padding\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h3 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/rachel-pafe-berlin-the-miracle-of-love\/\" >\n\t\t\t\tRachel Pafe (Berlin): The Miracle of Love Amidst the Crushes of War: Thinking through The Iliad with Susan Taubes and Simone Weil\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t<div class=\"elementor-post__excerpt\">\n\t\t\t<p>Rachel Pafe is a writer and researcher interested in modern Jewish thought and critical theories of mourning. She is currently doing a joint PhD at Goethe University of Frankfurt and Universit\u00e9 Lille. \u00a0 For more information visit\u00a0Rachel&#8217;s Page. To read the German-version of the article, please click\u00a0here.\u00a0 In her 1956 dissertation on French philosopher-mystic Simone<\/p>\n\t\t<\/div>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/rachel-pafe-berlin-the-miracle-of-love\/\" aria-label=\"Read more about Rachel Pafe (Berlin): The Miracle of Love Amidst the Crushes of War: Thinking through The Iliad with Susan Taubes and Simone Weil\" tabindex=\"-1\" >\n\t\t\tMehr ...\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t\t\t<span class=\"elementor-post-date\">\n\t\t\t1 May 2024\t\t<\/span>\n\t\t\t\t<span class=\"elementor-post-avatar\">\n\t\t\tNo Comments\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-17429 post type-post status-publish format-standard hentry category-texte infinite-scroll-item no-featured-image-padding\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h3 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/marcus-steinweg-berlin\/\" >\n\t\t\t\tMarcus Steinweg (Berlin): &#8220;Notizen zu Simone Weil&#8221;\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t<div class=\"elementor-post__excerpt\">\n\t\t\t<p>Leseschl\u00fcssel Die hier gelisteten \u2013 teils ver\u00f6ffentlichten, teils unver\u00f6ffentlichten \u2013 Notizen von Marcus Steinweg beziehen sich allesamt auf Simone Weil. Die Liste ist offen und wird schrittweise durch neue Notizen erweitert. RIGORISMUS An Simone Weil besticht ihr Rigorismus und ihre Klarheit. Noch wenn sie sich dem Allt\u00e4glichen zuwendet, geht der Vektor ins Nichts. Nie versenkt<\/p>\n\t\t<\/div>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/marcus-steinweg-berlin\/\" aria-label=\"Read more about Marcus Steinweg (Berlin): &#8220;Notizen zu Simone Weil&#8221;\" tabindex=\"-1\" >\n\t\t\tMehr ...\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t\t\t<span class=\"elementor-post-date\">\n\t\t\t28 June 2023\t\t<\/span>\n\t\t\t\t<span class=\"elementor-post-avatar\">\n\t\t\tNo Comments\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-23087 post type-post status-publish format-aside hentry category-texte tag-258 tag--lesen-reading tag--liebe-love tag--literatur-literature tag--loslosen-lassen-detachment tag--m-y-s-t-i-k-m-y-s-t-i-c-i-s-m tag--macht-power tag--martyrerin-tum-martyrdom tag--mathematik-mathematics tag--methode-method tag--mitgefuhl-compassion tag--moral-moral tag--musik-music tag--nachstenliebe-compassion-charity tag--nicht-lesen-non-reading tag--notwendigkiet-necessity tag--p-h-i-l-o-s-o-p-h-i-e-p-h-i-l-o-s-o-p-h-y tag--padagogik-pedagogics tag--passivitat-passivity tag--perfektion-vollendung-perfection tag--physik-physics tag--poesie-poetry tag--progress-werden-progress-becoming tag--r-e-a-l-i-t-a-t-r-e-a-l-i-t-y tag--reinheit-purity tag--religion-religion tag--s-c-h-r-e-i-b-e-n-w-r-i-t-i-n-g tag--sakrament-sacrament tag--schmerz-pain tag--schonheit-beauty tag--schwerkraft-gravity tag--seele-soul tag--selbst-disziplin-self-discipline tag--sklaverei-slavery tag--spirituelle-ubung-spiritual-exercise tag--sprache-language tag--tanz-dance tag--tod-death tag--u-b-e-r-n-a-t-u-r-l-i-c-h-e-s-u-p-e-r-n-a-t-u-r-a-l tag--ubung-training-dressur-training tag--un-endlichkeit-eternity tag--universalitat-universality tag--unmoglichkeit-impossibility tag--unterdruckung-oppression tag--unterwerfen-untergeben-devotion tag--verantwortung-responsibility tag--verstand-reason tag--verwurzelt-rootedness tag--wahrheit-truth tag--warten-waiting tag--wert-value tag--wille-will tag--wissen-knowledge tag--wissenschaft-science tag--wurzel-root tag--zeit-time tag-body tag-immunity tag-limitation tag-proportion-proportion tag-suffering tag-thingification tag-threat tag-writing post_format-post-format-aside infinite-scroll-item no-featured-image-padding\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h3 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/elisabeth-hubmann-geneve-organ-improvisations-in-response-to-simone-weils-les-lutins-du-feu-ca-1921-22\/\" >\n\t\t\t\tElisabeth Hubmann (Gen\u00e8ve): Organ improvisations in response to Simone Weil\u2019s \u201cLes Lutins du feu\u201d (ca. 1921\/22)\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t<div class=\"elementor-post__excerpt\">\n\t\t\t<p>Il dansait, il dansait toujours, le peuple des \u00e2mes candides, des \u00e2mes des enfants qui ne sont pas encore n\u00e9s; attendant leur tour d\u2019\u00eatre des hommes, les lutins se poursuivaient sur les b\u00fbches cr\u00e9pitantes. Simone Weil, Les Lutins du feu, 1921\/22. ELISABETH HUBMANN Abstract Elisabeth is an organist, musicologist, and environmentalist active in Gen\u00e8ve, Amsterdam<\/p>\n\t\t<\/div>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/elisabeth-hubmann-geneve-organ-improvisations-in-response-to-simone-weils-les-lutins-du-feu-ca-1921-22\/\" aria-label=\"Read more about Elisabeth Hubmann (Gen\u00e8ve): Organ improvisations in response to Simone Weil\u2019s \u201cLes Lutins du feu\u201d (ca. 1921\/22)\" tabindex=\"-1\" >\n\t\t\tMehr ...\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t\t\t<span class=\"elementor-post-date\">\n\t\t\t24 August 2022\t\t<\/span>\n\t\t\t\t<span class=\"elementor-post-avatar\">\n\t\t\tNo Comments\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<\/div>\n\t\t\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Il dansait, il dansait toujours, le peuple des \u00e2mes candides, des \u00e2mes des enfants qui ne sont pas encore n\u00e9s; attendant leur tour d\u2019\u00eatre des hommes, les lutins se poursuivaient sur les b\u00fbches cr\u00e9pitantes. Simone Weil, Les Lutins du feu, 1921\/22. ELISABETH HUBMANN Abstract Elisabeth is an organist, musicologist, and environmentalist active in Gen\u00e8ve, Amsterdam &#8230; <a title=\"Elisabeth Hubmann (Gen\u00e8ve): Organ improvisations in response to Simone Weil\u2019s \u201cLes Lutins du feu\u201d (ca. 1921\/22)\" class=\"read-more\" href=\"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/elisabeth-hubmann-geneve-organ-improvisations-in-response-to-simone-weils-les-lutins-du-feu-ca-1921-22\/\" aria-label=\"Read more about Elisabeth Hubmann (Gen\u00e8ve): Organ improvisations in response to Simone Weil\u2019s \u201cLes Lutins du feu\u201d (ca. 1921\/22)\">Mehr &#8230;<\/a><\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"aside","meta":{"footnotes":""},"categories":[15],"tags":[258,260,259,261,262,270,263,266,264,267,265,268,269,271,272,273,277,276,274,275,278,279,280,282,284,283,288,285,286,287,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,47,53,49,281,46,48,54,50],"class_list":["post-23087","post","type-post","status-publish","format-aside","hentry","category-texte","tag-258","tag--lesen-reading","tag--liebe-love","tag--literatur-literature","tag--loslosen-lassen-detachment","tag--m-y-s-t-i-k-m-y-s-t-i-c-i-s-m","tag--macht-power","tag--martyrerin-tum-martyrdom","tag--mathematik-mathematics","tag--methode-method","tag--mitgefuhl-compassion","tag--moral-moral","tag--musik-music","tag--nachstenliebe-compassion-charity","tag--nicht-lesen-non-reading","tag--notwendigkiet-necessity","tag--p-h-i-l-o-s-o-p-h-i-e-p-h-i-l-o-s-o-p-h-y","tag--padagogik-pedagogics","tag--passivitat-passivity","tag--perfektion-vollendung-perfection","tag--physik-physics","tag--poesie-poetry","tag--progress-werden-progress-becoming","tag--r-e-a-l-i-t-a-t-r-e-a-l-i-t-y","tag--reinheit-purity","tag--religion-religion","tag--s-c-h-r-e-i-b-e-n-w-r-i-t-i-n-g","tag--sakrament-sacrament","tag--schmerz-pain","tag--schonheit-beauty","tag--schwerkraft-gravity","tag--seele-soul","tag--selbst-disziplin-self-discipline","tag--sklaverei-slavery","tag--spirituelle-ubung-spiritual-exercise","tag--sprache-language","tag--tanz-dance","tag--tod-death","tag--u-b-e-r-n-a-t-u-r-l-i-c-h-e-s-u-p-e-r-n-a-t-u-r-a-l","tag--ubung-training-dressur-training","tag--un-endlichkeit-eternity","tag--universalitat-universality","tag--unmoglichkeit-impossibility","tag--unterdruckung-oppression","tag--unterwerfen-untergeben-devotion","tag--verantwortung-responsibility","tag--verstand-reason","tag--verwurzelt-rootedness","tag--wahrheit-truth","tag--warten-waiting","tag--wert-value","tag--wille-will","tag--wissen-knowledge","tag--wissenschaft-science","tag--wurzel-root","tag--zeit-time","tag-body","tag-immunity","tag-limitation","tag-proportion-proportion","tag-suffering","tag-thingification","tag-threat","tag-writing","post_format-post-format-aside","infinite-scroll-item","no-featured-image-padding"],"_links":{"self":[{"href":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-json\/wp\/v2\/posts\/23087","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-json\/wp\/v2\/comments?post=23087"}],"version-history":[{"count":94,"href":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-json\/wp\/v2\/posts\/23087\/revisions"}],"predecessor-version":[{"id":23436,"href":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-json\/wp\/v2\/posts\/23087\/revisions\/23436"}],"wp:attachment":[{"href":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-json\/wp\/v2\/media?parent=23087"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-json\/wp\/v2\/categories?post=23087"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www2.hu-berlin.de\/simoneweil-denkkollektiv\/wp-json\/wp\/v2\/tags?post=23087"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}