[Ces toiles] sont excessives – presque vulgaires. Comme Jackson Pollock abîmé par l'amour. Elles sont ornementales mais peintes d'après nature. Elles évoquent le désir et la manière dont on appréhende les choses qui nous entourent et ce qu'on en fait, mais elles montrent aussi l'incroyable et éphémère beauté d'un arbre en fleurs dans un ciel sans nuages. C'était jouissif de travailler sur ces toiles, de me perdre entièrement dans la couleur et la matière à l'atelier. Les Cerisiers en Fleurs sont (...) - Arts plastiques et autres – GALERIES – Nouvel article. (shrink)

A reflection on the aesthetic status of some typical objects of everyday life, and the relationship we have with them, may originate from the development of “aesthetic experience” by John Dewey and Neopragmatism. The continuity between the common practices and aesthetic ones determines the significance of ordinary objects if they are linked to a project of enrichment and fulfillment of experience. A case that thematizes the richness of these practices in the contemporary world, and also the related theoretical and critical (...) problems, is the production of skateboards. An established artist like Damien Hirst collaborates with the NYC-based streetwear brand Supreme; a new London-based brand, Palace Skateboards, and Tate realize together a few skateboard and a video. (shrink)

This paper tests the aesthetic theory presented in Francis Bacon: The Logic of Sensation against the Foucauldian Turn in art in the 1980s and Damien Hirst's early artworks, in order to ask if the concepts taken from the more general aesthetics to be found in A Thousand Plateaus and What is Philosophy? are better suited to an understanding of contemporary art, before returning to the question of whether there is something truly significant at work in this folie à (...) deux between painter and philosopher. (shrink)

In this paper, the concept of liquidation from the chapter on Self-consciousness in Hegel’s Phenomenology of Spirit is reconstructed and then used to deconstruct the systematic transition from sculpture to painting in the passage on the “System of the individual arts” in G.W.F. Hegel’s Aesthetics: Lectures on Fine Art. The aim is to show that such a deconstructed version of Hegel’s art philosophy provides a valid conceptual framework for the analysis of modern, particularly postmodern and contemporary art, which results as (...) liquid or liquidated art. Damien Hirst’s For the Love of God is discussed as major evidence for the concomitant neo-Hegelian claim that modern art has discursive reflection as its necessary supplement. (shrink)

This article addresses how it is possible to view Damien Hirst as a brand name. It argues that the brand name is not the mark of an originary relation between producer and product but of a set of highly mediated relations between products. In a discussion of the spot paintings, the process of mediation is seen to contribute to the open-endedness of the relations between products or works established in Hirst’s practice. This open-endedness contributes to the distinctiveness (...) of the Hirst brand name as ‘life as it is lived’ or living-ness. This characterization of the distinctiveness of the Hirst brand name draws attention to the ways in which his practice may be seen as a commentary on contemporary science, in particular the bio-sciences. It is further argued that Hirst does not merely represent himself as a scientist, but as a pharmacist, thus drawing attention to the role of branding in shifts in the processes of creativity, invention and discovery across the arts and sciences. (shrink)

This book walks us through the process of how artworks eventually get their meaning, showing us how curated exhibitions invite audience members to weave an exhibition's narrative threads, which gives artworks their contents and discursive sense. -/- Arguing that exhibitions avail artworks as candidates for reception, whose meaning, value, and relevance reflect audience responses, it challenges the existing view that exhibitions present “already-validated” candidates for appreciation. Instead, this book stresses the collaborative nature of curatorial practices, debunking the twin myths of (...) autonomous artists and sovereign artistic directors and treating presentation and reception as separate processes. Employing set theory to distinguish curated exhibitions from uncurated exhibitions, installation art and collections, it demonstrates how exhibitions grant spectators access to concepts that aid their capacity to grasp artifacts as artworks. -/- To inform and illuminate current debates in curatorial practice, Spaid draws on a range of case studies from Impressionism, Dada and Surrealism to more contemporary exhibitions such as Maurizio Cattelan “All” (2011) and “Damien Hirst” (2012). In articulating the process that cycles through exploration, interpretation, presentation and reception, curating bears resemblance to artistic direction more generally. (shrink)

Il testo si apre con una breve descrizione divulgativa della biologia della visione, dalla percezione delle linee complesse ai colori, e di come questa si sia evoluta nel corso dei millenni, da meccanismo pro-sopravvivenza legato all'analisi dell’ambiente naturale e dei propri simili, a strumento di valutazione e apprezzamento della composizione artistica. Indaga le analogie tra lo sviluppo del cervello nei bambini affetti da disturbi dello spettro affettivo e relazionale (autismo) e le rappresentazioni iconografiche degli uomini primitivi, dal paleolitico al neolitico. (...) Un’ampia sezione descrive dinamiche cerebrali dovute ai cosiddetti neuroni specchio e di come questi influiscono sull’espressione e la fruizione dell’opera d’arte, analizzando le produzioni di due degli artisti contemporanei più famosi: Damien Hirst e Jeff Koons, collegati da una complementarità culturale ancestrale, quella tra eros e thanatos, che affonda le radici nell’arte funeraria etrusca. Il testo continua con l’analisi neuroestetica della visione e i suoi effetti sull’organismo umano, seguendo l’evoluzione che ha subito il punto di visuale. Dal basso verso l’alto nel barocco, dal basso a “volo d’uccello” nell’arte futurista e dall’alto verso il basso nella produzione pittorica dell’archistar anglo-irachena Zaha Hadid. Lo stesso punto di vista che fugge i confini della rappresentazione pittorica, fino ad abbandonare totalmente i confini del corpo e le dinamiche cerebrali nell’arte riferita al metaumanesimo e transumanesimo. (shrink)

Through a series of provocative conversations, Frederick Luis Aldama and Herbert Lindenberger, who have written widely on literature, film, music, and art, locate a place for the discomforting and the often painfully unpleasant within aesthetics. The conversational format allows them to travel informally across many centuries and many art forms. They have much to tell one another about the arts since the advent of modernism soon after 1900—the nontonal music, for example, of the Second Vienna School, the chance-directed music and (...) dance of John Cage and Merce Cunningham, the in-your-faceness of such diverse visual artists as Francis Bacon, Pablo Picasso, Willem de Kooning, Egon Schiele, Otto Dix, and Damien Hirst. They demonstrate as well a long tradition of discomforting art stretching back many centuries, for example, in the Last Judgments of innumerable Renaissance painters, in Goya’s so-called “black” paintings, in Wagner’s Tristan chord, and in the subtexts of Shakespearean works such as King Lear and Othello. This book is addressed at once to scholars of literature, art history, musicology, and cinema. Although its conversational format eschews the standard conventions of scholarly argument, it provides original insights both into particular art forms and into individual works within these forms. Among other matters, it demonstrates how recent work in neuroscience may provide insights in the ways that consumers process difficult and discomforting works of art. The book also contributes to current aesthetic theory by charting the dialogue that goes on—especially in aesthetically challenging works—between creator, artifact, and consumer. (shrink)

Non c’è alcun dubbio, Leibniz si sbagliava: non viviamo nel migliore dei mondi possibili. In passato, l’arte perlomeno forniva all’uomo consolazione sotto forma di opere che, con la loro bellezza, profondità e inventività, suggerivano vie d’uscita dalla realtà o dischiudevano nuovi orizzonti. Ma ai nostri giorni, non ci è più possibile trovare conforto nell’arte, specie se ci immergiamo nel mondo delle arti visive, dove a dominare incontrastate il mercato, a ricevere le più entusiastiche recensioni critiche e a stimolare l’interesse dei (...) filosofi sono opere davvero povere d’immaginazione formale e, conseguentemente, di contenuto incarnato. Basti pensare ai teschi tempestati di diamanti di Damien Hirst, ai bambini-manichini appesi da Cattelan a un albero di Porta Ticinese a Milano, ai cani di palloncini di Jeffrey Koons, o al Terzo Paradiso di Pistoletto. Cosa possono fare gli studiosi di estetica per invertire la rotta, per rendere il nostro mondo, se non il migliore dei mondi possibili, per lo meno artisticamente più allettante di quello odierno? La risposta la si potrà trovare nella messa a punto di una definizione estetica dell’arte e di un perfezionamento dei suoi criteri di classificazione, che sono anche norme di valutazione. (shrink)

Arthur C. Danto's essays not only critique bodies of work but reflect upon art's conceptual evolution as well, drawing for the reader a kind of "philosophical map" indicating how art and the criteria for judging it has changed over the twentieth century. In _Unnatural Wonders_ the renowned critic finds himself at a point when contemporary art has become wholly pluralistic, even chaotic-with one medium as good as another-and when the moment for the "next thing" has already passed. So the theorist (...) goes in search of contemporary art's most exhilarating achievements, work that bridges the gap between art and life, which, he argues, is now the definitive art of our time. Danto considers the work of such young artists as John Currin and Renee Cox and older living masters including Gerhard Richter and Sol LeWitt. He discusses artists of the New York School, like Philip Guston and Joan Mitchell, and international talents, such as the South African William Kentridge. Danto conducts a frank analysis of Matthew Barney's _The Cremaster Cycle_, Damien Hirst's skeletons and anatomical models, and Barbara Kruger's tchotchke-ready slogans; finds the ghost of Henry James in the work of Barnett Newman; and muses on recent Whitney Biennials and art influenced by 9/11. He argues that aesthetic considerations no longer play a central role in the experience and critique of art. Instead art addresses us in our humanity, as men and women who seek meaning in the "unnatural wonders" of art, a meaning that philosophy and religion are unable to provide. (shrink)

In paragraph 48 of the Critique of Judgment, Immanuel Kant claimed that ‘only one kind of ugliness cannot be represented in accordance with nature without destroying all aesthetic satisfaction, hence artistic beauty, namely that which arouses disgust.’ However, from Baudelaire to Damien Hirst, there have been artists who delight in arousing disgust through their works, and many of these disgusting works, such as Baudelaire's Une Charogne, have high aesthetic merit. In her splendid new book, Savoring Disgust, Carolyn Korsmeyer (...) rejects Kant's suggestion and argues that there is something called ‘aesthetic disgust,’ that is, ‘the arousal of disgust in an audience, a spectator, or a reader, under circumstances where that emotion both apprehends artistic properties and constitutes a component of appreciation.’. (shrink)

In Art Incorporated, you seek to debunk the myth of the artworld as autonomous of the market forces of global capitalism. Instead, you argue, works of art have become yet another commodity. However, one could say that works of art have always been commodities as well as objects of aesthetic appreciation. What makes the problem pertinent now, in the age of artists like Takashi Murakami, Jeff Koons and Damien Hirst?

Hundreds of cottages and cabins, mansions and houses line the shores of Lake Minnetonka, one of Minnesota's most beautiful lakes and site of some of the state's most coveted properties. Legendary Homes of Lake Minnetonka invites readers into thirty of these dwellings - built by families like the Washburns, the Pillsburys, and the Daytons. Evocative words and stunning color photographs guide readers through these beautifully designed and furnished homes. Portrayed in elegant detail are interiors of renovated Victorian cottages and rustic (...) cabins, as well as those of houses designed by modernist masters like William Lescaze and Philip Johnson. Photographer Karen Melvin takes viewers through the front door, showing living rooms furnished with Mies van der Rohe couches and Frank Lloyd Wright chairs and walls adorned with works by Robert Motherwell and Damien Hirst. Author Bette Jones Hammel relates the homes' histories of ownership and details the many renovations they have seen over time, renovations that have attempted to retain the homes' character and extend their lifespan. For the best views of the exteriors of these homes, you would need a boat. To see the interiors, you would need an invitation. Hammel and Melvin have chosen the most interesting houses - both architecturally and historically - and painstakingly scouted out the best vantage points, both inside and out, to provide a personal tour of these spectacular homes. (shrink)

De beroemde Australische kunstcriticus Robert Hughes verdedigt het onschatbare in de kunst tegen commercie, hype en marketing. In deze Nexus-lezing van 2009 ontmaskert hij nietsontziend hedendaagse iconen als Damien Hirst, Jackson Pollack en Andy Warhol, en verguist hij een markt die de prijzen van kunstwerken tot absurde hoogten doen stijgen. Daartegenover stelt hij datgene wat kunst echt waardevol maakt: de vakmanschap, intensiteit en subtiliteit van waarlijk grote kunstenaars als Vermeer, Rembrandt en Goya.

Zu den Gründungsmythen der Postmoderne gehört, dass sich die Kunst vom Neuheitsanspruch der Moderne verabschiedet habe. Tatsächlich wurde dieser Anspruch aber nicht preisgegeben, sondern nur reformuliert. Folgte die avancierte Kunst im 20. Jahrhundert weithin einer Materialästhetik, wie sie sich zum Beispiel im Kubismus oder in der seriellen Musik manifestierte, lässt sich heute eine Hinwendung zur Gehaltsästhetik beobachten. Neuheit wird von Künstlern wie Ai Weiwei oder Damien Hirst nicht länger im ästhetischen Material gesucht, sondern in dem durch ein Werk (...) artikulierten neuen ästhetischen Gehalt. Diese gehaltsästhetische Wende der Künste ist die Quintessenz von Harry Lehmanns Kunstphilosophie. Auf der Grundlage einer Theorie der ästhetischen Eigenwerte, zu denen Schönheit, Erhabenheit, Ereignis und Ambivalenz gehören, erzählt er die europäische Kunstgeschichte neu als eine Geschichte der ästhetischen Erfahrung. Zahlreiche Beispiele aus den Bildenden Künsten, der Dichtung und der Musik, aber auch aus Werbung, Mode und Design machen diesen Paradigmenwechsel in den Künsten anschaulich und evident. (shrink)

The essays in Religious Upbringing and the Costs of Freedom are the personal stories of philosophers who were brought up religiously and have broken free, in one way or another, from restraint and oppression. As trained philosophers, they are well equipped to reflect on and analyze their experiences. In this book, they offer not only stories of stress and liberation but ruminations on the moral issues that arise when parents and other caregivers, in seeking to do good by their children, (...) sometimes end up doing real harm to their personal development and sense of autonomy as individuals. In addition to the editors, the contributors are Raymond D. Bradley, Damien Alexander DuPont, Diane Enns, Paul H. Hirst, Amalia Jiva, Irfan Khawaja, Christine Overall, Tasia R. Persson, and Glen Pettigrove. (shrink)

This collection of essays by philosophers and educationalists of international reputation, all published here for the first time, celebrates Paul Hirst's professional career. The introductory essay by Robin Barrow and Patricia White outlines Paul Hirst's career and maps the shifts in his thought about education, showing how his views on teacher education, the curriculum and educational aims are interrelated. Contributions from leading names in British and American philosophy of education cover themes ranging from the nature of good teaching (...) to Wittgensteinian aesthetics. The collection concludes with a paper in which Paul Hirst sets out his latest views on the nature of education and its aims. The book also includes a complete bibliography of works by Hirst and a substantial set of references to his writing. (shrink)

In this book the author considers data from both early and later schools of Buddhism in an attempt to provide an overall characterization of the structure of Buddhist ethics. The importance of ethics in the Buddha's teachings is widely acknowledged, but the pursuit of ethical ideals has up to now been widely held to be secondary to the attainment of knowledge. Drawing on the Aristotelian tradition of ethics the author argues against this intellectualization of Buddhism and in favour of a (...) new understanding of the tradition in terms of which ethics plays an absolutely central role. In the course of this reassessment many basic concepts such as karma, nirvana, and the Eightfold Path, are reviewed and presented in a fresh light. The book will be of interest to readers with a background in either Buddhist studies or comparative religious ethics. (shrink)

In this particularly well written volume Graeme Hirst presents a theoretically motivated foundation for semantic interpretation (conceptual analysis) by computer, and shows how this framework facilitates the resolution of both lexical and syntactic ambiguities.

Several contributions in the book show how these principles apply to contemporary problems and moral issues.

Introduction The publication in of a collection of papers under the title The Study of Education, edited by Professor JW Tibble, inaugurated a new era in ...

Philosophy and curriculum planning.--The nature and structure of curriculum objectives.--Liberal education and the nature of knowledge.--Realms of meaning and forms of knowledge.--Language and thought.--The forms of knowledge re-visited.--What is teaching?--The logical and psychological aspects of teaching a subject.--Curriculum integration.--Literature and the fine arts as a unique form of knowledge.--The two-cultures, science and moral education.--Morals, religion and the maintained school.

Children’s reasoning on food properties and health relationships can contribute to healthier food choices. Food properties can either be positive (“gives strength”) or negative (“gives nausea”). One of the main challenges in public health is to foster children’s dietary variety, which contributes to a normal and healthy development. To face this challenge, it is essential to investigate how children generalize these positive and negative properties to other foods, including familiar and unfamiliar ones. In the present experiment, we hypothesized that children (...) might rely on cues of food processing (e.g., signs of human intervention such as slicing) to convey information about item edibility. Furthermore, capitalizing on previous results showing that food rejections (i.e., food neophobia and picky eating) are a significant source of inter-individual variability to children’s inferences in the food domain, we followed an individual approach. We expected that children would generalize the positive properties to familiar foods and, in contrast, that they would generalize more often the negative properties to unfamiliar foods. However, we expected that children would generalize more positive and less negative properties to unfamiliar sliced foods than to whole unfamiliar foods. Finally, we expected that children displaying higher levels of food rejections would generalize more negative properties than children displaying lower levels of food rejections. One-hundred and twenty-six children, aged 3–6 years, performed an induction task in which they had to generalize positive or negative health-related properties to familiar or unfamiliar foods, whole or sliced. We measured children’s probability of generalization for positive and negative properties. The children’s food rejection score was assessed on a standardized scale. Results indicated that children evaluated positively familiar foods (regardless of processing), whereas they tend to view unfamiliar food negatively. In contrast, children were at chance for processed unfamiliar foods. Furthermore, children displaying higher levels of food rejections were more likely to generalize the negative properties to all kinds of foods than children displaying lower levels of food rejections. These findings entitle us to hypothesize that knowledge-based food education programs should take into account the valence of the properties taught to children, as well as the state of processing of the food presented. Furthermore, one should take children’s interindividual differences into account because they influence how the knowledge gained through these programs may be generalized. (shrink)

This paper critically analyzes Sherrilyn Roush's (Tracking truth: knowledge, evidence and science, 2005) definition of evidence and especially her powerful defence that in the ideal, a claim should be probable to be evidence for anything. We suggest that Roush treats not one sense of 'evidence' but three: relevance, leveraging and grounds for knowledge; and that different parts of her argument fare differently with respect to different senses. For relevance, we argue that probable evidence is sufficient but not necessary for Roush's (...) own two criteria of evidence to be met. With respect to grounds for knowledge, we agree that high probability evidence is indeed ideal for the central reason Roush gives: When believing a hypothesis on the basis of e it is desirable that e be probable. But we maintain that her further argument that Bayesians need probable evidence to warrant the method they recommend for belief revision rests on a mistaken interpretation of Bayesian conditionalization. Moreover, we argue that attempts to reconcile Roush's arguments with Bayesianism fail. For leveraging, which we agree is a matter of great importance, the requirement that evidence be probable suffices for leveraging to the probability of the hypothesis if either one of Roush's two criteria for evidence are met. Insisting on both then seems excessive. To finish, we show how evidence, as Roush defines it, can fail to track the hypothesis. This can remedied by adding a requirement that evidence be probable, suggesting another rationale for taking probable evidence as ideal—but only for a grounds-for-knowledge sense of evidence. (shrink)

Issues such as abortion, embryo research and euthanasia have been discussed exhaustively from the standpoint of Western philosophy and religion, but so far the voice of Buddhism has been little heard in the debate. Although widely respected for its benevolent and humanistic values, Buddhism has not so far shown how its ethical principles can be applied in a consistent manner to contemporary moral dilemmas. Drawing on both ancient and modern sources, this book sets out the basis of a Buddhist response (...) to the major ethical questions posed by modern medicine. (shrink)

This paper discusses ethical issues related to social work practice in the area of mental health. It does so via the use of a case study taken from my practice whilst I was on placement. Ethical issues are explored within a practice context that is becoming increasingly proceduralised and risk averse, and where protectionist responses contribute to undermining the rights of service users to self-determination. The paper explores the relationship between utilitarian and Kantian ethical theory and ethical decision-making as well (...) as commenting on the usefulness of an anti-oppressive ethical perspective. (shrink)

The author had had a plan for a kind of melodrama constructed around two orders of motivation. In the foreground of the stage, there was to be a series of realistic incidents, dealing with typical human situations, such as family quarrels, scenes at a business office, lovers during courtship, a public address by a spell-binder, etc. In the background, like a set of comments on this action, there was to be a primeval forest filled with mythically prehistoric monsters, marauding and (...) fighting in silent pantomime. These two realms were to have no overt connection with each other. The monsters in the "prehistoric" background would pay no attention to the everyday persons of the... (shrink)

If there is a homeomorphic embedding of one set into another, the sets are said to be topologically comparable. Friedman and Hirst have shown that the topological comparability of countable closed subsets of the reals is equivalent to the subsystem of second order arithmetic denoted byATR 0. Here, this result is extended to countable closed locally compact subsets of arbitrary complete separable metric spaces. The extension uses an analogue of the one point compactification of ℝ.

Les émotions sont souvent considérées comme un puissant marqueur de genre, jouant un rôle central dans les délimitations culturelles et sociales du masculin et du féminin. Depuis la théorie antique des tempéraments, en effet, le masculin est du côté des émotions chaudes et sèches (colère, fureur, hardiesse, haine), le féminin, du côté des émotions froides et humides (modestie, douceur, crainte, pudeur, compassion, langueur). Dans le monde occidental, on considère aussi que les émotions sont d...

The latter half of the twentieth century witnessed a growing interest in Buddhism, and it continues to capture the imagination of many in the West who see it as either an alternative or a supplement to their own religious beliefs. Numerous introductory books have appeared in recent years to cater to this growing interest, but almost none devotes attention to the specifically ethical dimensions of the tradition. For various complex cultural and historical reasons, ethics has not received as much attention (...) in traditional Buddhist thought as it has in the West. Written by Damien Keown, one of the few experts worldwide who specializes in the area, Buddhist Ethics illustrates how Buddhism might approach a range of contemporary morals ranging from abortion to euthanasia, sexuality to cloning, and even war and economics. (shrink)

We develop and test a trickle-down model of how authentic leadership at the department level flows down the organizational hierarchy to encourage team leader authentic leadership and consequently, promotes team and individual-level supervisor-directed helping behavior. Analyses of multi-level and multi-source data collected from a total of 487 employees comprising 122 teams, 47 departments, and 4 different working areas of a major public sector organization in Taiwan show that team leaders’ authentic leadership mediates the relationship between departmental authentic leadership and individual-level (...) leader–member exchange. We also found that intra-team trust completely mediates the influence of team authentic leadership on both team helping behavior and individual-level supervisor-directed helping behavior. Finally, the results reveal that self-concordance mediates the influence of team authentic leadership on individual-level supervisor helping behavior as well as the influence of individual-level LMX on individual-level supervisor-directed helping behavior. Theoretical and practical implications of these findings are discussed. (shrink)

Samkara (c. 700 CE), the great Indian Advaitin thinker, was a commentator on sacred text and an Advaitin teacher. This book provides an introduction to the thought of Samkara, who is the most well-known and most perhaps the most authoritative Hindu thinker of all time. The author develops an innovative approach using Samkara's method of interpreting sacred texts and creatively examines the profound interrelationship between sacred text, content and method in Samkara's thought. In particular Samkara's teaching method is the main (...) focus of this book; it is a method that is based on Upanisadic truth and expects teachers to skillfully draw pupils towards it. This book will be of interest to students and scholars of Indian philosophy. (shrink)

Part 1 What Do Teachers Need to Know? Part 2 What Makes a Good Teacher? Part 3 Being a Teacher?

We show that \\) cannot be proved with one typical application of \\) in an intuitionistic extension of \ to higher types, but that this does not remain true when the law of the excluded middle is added. The argument uses Kohlenbach’s axiomatization of higher order reverse mathematics, results related to modified reducibility, and a formalization of Weihrauch reducibility.

Based on anthropological fieldwork conducted in the Eastern Cape, the paper explores the interconnections between dreams (amathongo, amaphupha) and medicines (amayeza, imithi, amachiza) as aspects of the Xhosa diviner’s culture, knowledge and experience. Background information is provided in the introduction, inter alia, on the Xhosa patrilineal clan (isiduko), divination (imvumisa, evumiso) and religious and cultural change. The ability to dream, inter alia of the ancestors and medicines, is central to the diviner’s intuition and professional stock-in-trade, which are part and parcel (...) of a religious healing tradition. Examples of dreams involving the ancestors (iminyanya), diviners, clients and medicinal plants are presented and analysed in relation to relevant case material. The ritual significance of dreams is explored in some detail. The distinctions between diviner (igqirha lokuvumisa) and herbalist (ixhwele), and between medicines and charms (amakhubalo), receive attention in the section on medicines. The underlying purpose of traditional Xhosa religious ideology is discussed in the conclusion. (shrink)

La théorie des transferts culturels permet de penser la circulation et la mutation des messages entre les cultures. Elle a élargi son horizon notamment grâce à l’émergence de quatre théories élaborées au tournant des années 2004-2006 : l’histoire croisée, la médiation artistique, le champ culturel transnational et les transfer studies. Ces dernières peuvent contribuer à repenser les aires culturelles par une étude des imbrications et les tensions qui existent entre les aires culturelles, les espaces et les territoires.