
audiobook
by Albert Coste
Note sur la transcription: Les erreurs clairement introduites par le typographe ont été corrigées. L'orthographe d'origine a été conservée et n'a pas été harmonisée. Les numéros des pages blanches n'ont pas été repris.
LES PHÉNOMÈNES PSYCHIQUES OCCULTES ÉTAT ACTUEL DE LA QUESTION
PRÉAMBULE
INTRODUCTION
COUP D'ŒIL SUR L'HISTOIRE DU MERVEILLEUX
DIVISION DU SUJET
PREMIÈRE PARTIE Ire CLASSE.—PHÉNOMÈNES PSYCHIQUES OCCULTES - PREMIER GENRE Télépathie
A.—Hallucinations télépathiques visuelles
B.—Hallucinations télépathiques auditives
C.—Hallucinations télépathiques tactiles
From the earliest whispers of miracle to the polished laboratories of today, this work opens a thoughtful dialogue on phenomena that defy ordinary explanation. It asks what truly lies behind the so‑called “occult psychic” events that have long been dismissed as superstition, and whether they might belong to an as‑yet unknown segment of natural law. By weaving together philosophical insights from figures such as Laplace and modern scientific perspectives, the author sets the stage for a serious reconsideration of the marvelous.
The author charts the historical resistance to studying these effects, highlighting the prejudice that once barred even a doctoral defense on the subject. He then presents a series of carefully documented observations and experiments, aiming to show that the mysterious can be approached with the same rigor as any other physical phenomenon. Readers are invited to follow a measured, yet open‑minded, investigation that bridges the gap between skepticism and wonder.
Language
fr
Duration
~6 hours (387K characters)
Publisher of text edition
Project Gutenberg
Credits
Produced by Hélène de Mink and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by the Bibliothèque nationale de France (BnF/Gallica) at http://gallica.bnf.fr)
Release date
2013-05-30
Rights
Public domain in the USA.

1895–1985
A Marseille-born French painter, he moved from early post-Cézanne influences toward a more abstract style after meeting Albert Gleizes in the early 1940s. Music stayed close to him throughout his life, and that sense of rhythm often shaped the feel of his work.
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