Regarding the influence of Francois Rabelais on the Giordano Bruno’s works, up to now the criticism have only taken into consideration the lexical and thematic analogies. This article individualizes, in a passage of the "Oratio Valedictoria", a literal quotation from the Gargantua et Pantagruel , showing that Rabelais was adirect source of inspiration for Bruno. The protagonist of the passage is the pythagorean Apollonius of Tyana, a character well known from the Nolan, who mentioned him in many occasions. He represents (...) theideal medium with the oriental wisdom, that had so much influence on the thought of Bruno. Besides, heembodies the model of the "natural magician" in which the philosopher repeatedly identified himself, both inhis works and life. (shrink)

Regarding the influence of François Rabelais on the Giordano Bruno‟s works, up to now the criticism have only taken into consideration the lexical and thematic analogies. This article individualizes, in a passage of the Oratio Valedictoria, a literal quotation from the Gargantua et Pantagruel, showing that Rabelais was a direct source of inspiration for Bruno. The protagonist of the passage is the pythagorean Apollonius of Tyana, a character well known by the Nolan, who mentioned him in many occasions. He (...) represents the ideal medium with the oriental wisdom, that had so much influence on the thought of Bruno. Besides, he embodies the model of the "natural magician" in which the philosopher repeatedly identified himself, both in his works and life. (shrink)

In his article “Freedom of Interpretation: Bakhtin and the Challenge of Feminist Criticism” , Wayne Booth develops an argument for “ethical” literary criticism, criticism that is concerned with the ideologies inherent in works of literature and the effects these ideologies may have on the reader. Or, as he phrases it himself: “What we are talking about [is] human ideals, how they are created in art and thus implanted in readers and left uncriticized” . Booth’s starting point, his “inspiration” for this (...) argument, is Mikhail Bakhtin’s notion of “dialogism” and, in particular, Bakhtin’s use of this notion in his interpretation of François Rabelais’ Gargantua and Pantagruel narratives.1 For those not familiar with Booth’s essay , I will briefly summarize his argument in support of ethical criticism.Booth begins with much praise for Bakhtin because Bakhtin seems to have discovered in Rabelais a linguistic technic that frees the reader from the ideologies inherent in language . As Booth paraphrases Bakhtin, any writer who employs the languages of different ideologies within one text freed the reader from the “prison-house of language” to the extent that he allows the reader to view each ideology from the outside, from these other languages, so that this reader can judge each ideology in terms other than those which the ideology builds into its own language. 1. See Mikhail Bakhtin, Rabelais and His World, trans. Helene Iswolsky . Richard M. Berrong is visiting assistant professor of French at the University of Nebraska. He is the author of Every Man for Himself: Social Order and Its Dissolution in Rabelais and Rabelair and Bakhtin Revisited: The Presence and Exclusion of Popular Culture in “Gargantua and Pantagruel”. (shrink)

ABSTRACT This article proposes an interpretation of the ideas of Ferdinand de Saussure and Mikhail Bakhtin that seeks to relate them not through an epistemological point of view, but based on a concept proposed by Henri Meschonnic, according to which one author can be linked to another without an explicit reference to an affiliation between them. The starting point is a comment made by Bakhtin about the translation of François Rabelais’ work into Russian, which Meschonnic cites in his anti-structuralist (...) interpretation of Saussure. Finally, a reflection is made on the relevance of addressing metalinguistic comments that discuss the condition of the speaker, which can be the object of an enunciative-anthropological theorization. (shrink)

In an appendix, Professor Masters examines the continuity of the several themes of the Platonic-Hermetic tradition as they occur in the five books of the Rabelaisian corpus.

This volume puts forward a distinct new theory of direct reference, blending insights from both the Fregean and the Russellian traditions, and fitting the general theory of language understanding used by those working on the pragmatics of natural language.

In the Prologue to the third book of Gargantua, Francois Rabelais compares his own predicament to that of the philosopher Diogenes of Sinope during the seige of Cornith. “I held it not a little disgraceful”, he confides, “to be only an idle spectator of so many valorous, eloquent and warlike persons, who in the view and sight of all Europe act this notable interlude or tragi-comedy, and not exert myself and contribute thereunto this nothing, my all, which remained for me (...) to do”. (shrink)

Cumulative technological culture (CTC) refers to the increase in the efficiency and complexity of tools and techniques in human populations over generations. A fascinating question is to understand the cognitive origins of this phenomenon. Because CTC is definitely a social phenomenon, most accounts have suggested a series of cognitive mechanisms oriented toward the social dimension (e.g., teaching, imitation, theory of mind, and metacognition), thereby minimizing the technical dimension and the potential influence of non-social, cognitive skills. What if we have failed (...) to see the elephant in the room? What if social cognitive mechanisms were only catalyzing factors and not thesufficient and necessaryconditions for the emergence of CTC? In this article, we offer an alternative, unified cognitive approach to this phenomenon by assuming that CTC originates in non-social cognitive skills, namely technical-reasoning skills which enable humans to develop the technical potential necessary to constantly acquire and improve technical information. This leads us to discuss how theory of mind and metacognition, in concert with technical reasoning, can help boost CTC. The cognitive approach developed here opens up promising new avenues for reinterpreting classical issues (e.g., innovation, emulation vs. imitation, social vs. asocial learning, cooperation, teaching, and overimitation) in a field that has so far been largely dominated by other disciplines, such as evolutionary biology, mathematics, anthropology, archeology, economics, and philosophy. (shrink)

Initially proposing working definitions of the terms ‘soundscape’ and ‘soundspace’, the article examines brief excerpts from the writings of François Rabelais and Victor Hugo, as well as a striking 2005 ‘completion’ of the Mozart Requiem by the contemporary Austrian composer Georg Friedrich Haas. All of the works examined deploy, in their way, the idea of a post-mortem soundscape. The evocation of the sounds of a world beyond our knowing suggests awe at the idea of transcending death but also lays (...) bare some of the ideological pitfalls of memorialization. (shrink)

Dans les premiers récits écrits, les médecins et les maladies jouaient souvent un rôle important. Certains érudits renommés de la tradition juive, comme Moïse Maïmonide était un philosophe, un écrivain prolifique et un médecin. Parmi les auteurs mondialement connus, on peut citer : François Rabelais (1483-1553), Anton Tchekhov (1860-1904), Arthur Conan Doyle (1859-1930), Oliver Sacks (1933-2015) et le contemporain Abraham Verghese (1955-), pour n’en citer que quelques-uns. Le lien entre la médecine et les sciences humaines semble avoir diminué dans (...) certains domaines, en partie à cause de l’accent mis sur les avancées scientifiques en médecine et de la diminution de l’intérêt pour les sciences humaines, en particulier dans l’enseignement supérieur. À mon avis, c’est un problème pour la médecine. (shrink)

In love with freedom, Diogenes was a philosopher who did not like being taken seriously and who never wanted to change the world. And yet, his influence has persisted throughout the centuries, from Francois Rabelais and Alfred de Musset to William Shakespeare and Victor Hugo.

I argue that immunity to error through misidentification primarily characterizes thoughts that are 'implicitly' de se, as opposed to thoughts that involve an explicit self-identification. Thoughts that are implicitly de se involve no reference to the self at the level of content: what makes them de se is simply the fact that the content of the thought is evaluated with respect to the thinking subject. Or, to put it in familiar terms : the content of the thought is a property (...) which the thinking subject self-ascribes (as in the Loar/Lewis/Chisholm analysis). After answering an objection (to the effect that immunity can affect explicit de se thoughts), I extend the analysis to demonstrative thoughts, which also exhibit the property of immunity to error through misidentification. (shrink)

Dass sich Hegel und Hermann Cohen trotz scheinbarer Gegensatze miteinander versohnen lassen, ist eine Grunduberzeugung des Werkes von Myriam Bienenstock, welches sich stets durch die doppelte Ausrichtung auf Hegel und das judische Denken auszeichnete. Mit diesem Band wird Myriam Bienenstock, seit 1997 Professorin fur Philosophie an der Universitat Francois Rabelais in Tours, anlasslich ihres 70. Geburtstages geehrt. Mit Beitragen von Dominque Bourel, Bernard Bourgeois, Christophe Bouton, Pierfrancesco Fiorato, Jean-Francois Goubet, Dana Hollander, Helmut Holzhey, Gerhard Kurz, Claudia Melica, Wolfdietrich Schmied-Kowarzik, Ludwig (...) Siep, Guy Stroumsa und Norbert Waszek. (shrink)

RESUMO Por meio da análise dos estudos desenvolvidos por Mikhail Bakhtin a propósito da obra de Fiódor Dostoiévski e François Rabelais, este artigo visa discutir as fronteiras e a relação entre corpus e objeto. Para tanto, observamos comparativamente duas edições brasileiras das obras bakhtinianas, sendo a pesquisa a respeito do autor francês e da cultura cômica popular cotejada com um conjunto de textos envolvendo o original em russo, textos-moldura, traduções e outros enunciados correlacionados. A reflexão apoia-se em uma perspectiva (...) dialógica, sobretudo na noção de alteridade. Os resultados revelam que, ainda que corpus e objeto se apresentem a priori amalgamados, é a imprescindível relação do autor-pesquisador com esse corpus que vai, gradualmente, destacando o objeto. ABSTRACT Through the analysis of the studies developed by Mikhail Bakhtin regarding the work of Fyodor Dostoevsky and François Rabelais, this article aims to discuss the boundaries and the relationship between corpus and object. Therefore, we compared two Brazilian editions of Bakhtinian works, with the research on the French author and popular comic culture, with a set of texts involving the Russian original, frame-texts, translations, and other correlated utterances. The reflection is based on a dialogical perspective, particularly on the notion of alterity. The results show that, although corpus and object are a priori amalgamated, it is the essential relationship of the author-researcher with this corpus that gradually detached the object. (shrink)

Thinking involves many elements of sound that philosophical tradition has repressed. Breathing, rhythms and collateral noises participate in the making of idealities, even the most abstract. In order to hear them, the voice needs to be considered as one sound among others and as multiple, even when it comes from the same speaker, following different protocols of enunciation. Listening to the recordings of seminars and studying the role played by modern sound technologies make it possible to hear subterranean meanings and (...) tensions at the heart of mental elaboration. Thinkers and writers could be defined by the way they handle the acoustic environments favourable to the way they speak and write, whether by selection, mixing or silence. An ‘acousmatic’ reading aims to listen to this sonic investment in texts and to hear the complex vibrations of their thought. (shrink)

If we accept the idea that the value of a “logic” depends on its ability to fit the usual meaning of the “logical constants” which it formalises and the inferences we draw on their basis, we may ask if the meaning of “possible” is well captured by normal modal logic. We are faced with the following puzzle: if is meaningful and non contradictory is it not a logical truth that ? First, it is shown why there is no logical law (...) of the form , being a neutral wff, and then some philosophical conclusions are drawn: “possible” relative to truth must be distinguished from possible “relative” to meaning, and the former only is formalised in modal logic. (shrink)

In this paper I compare my account of IEM to another one, the Simple View, according to which a judgment is IEM just in case its grounds do not include an identity. The Simple View does not say why no identity assumption is needed to ground the singular judgment in the IEM cases; my account is meant to complement it by providing an answer to that question. According to my account, the judgments that are IEM are based on a certain (...) experience, and what they are about is pre-determined by the mode of that experience, by the type of experience it is, in a way that leaves no room for an alternative. (shrink)

The aim of this paper is to analyze the hermeneutical nature of the concept of the understanding-of-being that grounds Heidegger’s fundamental ontology. I first consider the merging between ontology and hermeneutics that takes place in Being and Time and then interpret the hermeneutical sections of Being and Time (§§ 31–32) in order to clarify the ontological scope of under­standing, interpretation, and meaning. This allows me to examine the three dimensions of the “understanding-of-being principle” (according to which our encounter with entities (...) is made possible by an understanding-of-being): the semantic, the ontological, and the transcendental. Finally, I try to make sense of the problematic use Heidegger makes of the concept of understanding for both the ontic encounter with entities and the ontological access to being. (shrink)

This book is a sequel to Recanati’s Mental Files (OUP 2012), and pursues the exploration of the mental file framework for thinking about concepts and singular reference. Mental files are based on 'epistemically rewarding' relations to objects in the environment. Standing in such relations to objects puts the subject in a position to gain information regarding them—information which goes into the file based on the relevant relation. Files do not merely store information about objects, however. They refer to them and (...) serve as singular terms in the language of thought, with a relational (nondescriptivist) semantics. Crucially, files also play the role of ‘modes of presentation’. They are used to account for cognitive significance phenomena illustrated by so-called ‘Frege cases’. This book considers what happens to mental files in a dynamic setting. Mental files are construed as both continuants (dynamic files) and as time-slices thereof (static files). Dynamic files are needed to account for confusion, recognition and tracking. The book considers what happens to the relation of coreference de jure, central to the functional characterization of files, when one adopts a dynamic perspective. Only a weak form of coreference de jure is said to hold between stages of the same dynamic file. The second part of the book argues that communication involves interpersonal dynamic files. Special attention is paid to the communication of indexical thoughts (de se contents), and to communication using proper names. (shrink)

La poétique de l'ironie prend conscience de la déréliction dans laquelle vit l'homme contemporain : s'il existe un bonheur sociétal, il existe aussi en contrepartie un malheur sociétal. C'est une affaire d'existence que d'affronter poétiquement ce malaise de l'être humain. La vision utilitaire du monde nous fait oublier la liberté du réel, ainsi que la liberté de notre pensée, de notre langage et de notre vécu, bref, la notion d'être en présence du monde, d'autrui et de nous-mêmes. La poétique de (...) tout poète, à l'instar de celle de Novalis, produit une exacerbation des sens face aux conflits que l'existence provoque. Son ironie face au destin de l'existence consiste donc à promouvoir un sensualisme poétique plus grand encore que le malaise absurde que suggère l'existence. Là est tout le rôle, l'amplitude du contrôle ironique du poète. Il est à la recherche d'une indépendance sociale et d'un idéalisme de la vie où il jouirait de la sérénité ataraxique qu'il produit. La poétique de l'ironie entend bien aussi convertir tout philosophe à sa propre hybris. Aussi François Breteau convoque-t-il ici les poètes philosophes les plus vénérés : Parménide et Héraclite, ainsi que les chantres modernes et contemporains de l'ironie philosophique : Hegel, Novalis, Heidegger, Habermas, Lyotard et Rorty pour leur faire percevoir, au coeur de cette déréliction, tout ce qui leur permet encore de faire de l'existence humaine, leur oeuvre ainsi que de s'en réjouir. (shrink)

Théorie économique élaborée dans les années 1960, l'hypothèse d'instabilité financière postule que le système capitaliste est instable par essence : toute phase d'équilibre apparent ne fait qu'encourager les acteurs du marché à prendre davantage de risques, qui provoquent de nouvelles crises. Décriée à l'époque, cette analyse est aujourd'hui considérée comme l'une des plus à même d'expliquer la crise actuelle. Elle offre une première approche passionnante d’une oeuvre dense, jusqu’à présent méconnue en France.

Journal Name: Semiotica Issue: Ahead of print.

We present bibliometric evidence for increasing estrangement between the philosophy of economics and economics itself. Our analysis centers on research articles published in the Journal of Economic Methodology (JEM) between 1994 and 2021. We analyze the citations within these research articles, in particular with respect to the citations of economics. Our results are fourfold. (1) The share of economic citations in JEM articles has been decreasing. (2) The remaining economic citations in JEM articles are increasingly older relative to citation patterns (...) within economics. (3) The profile of economic citations in JEM articles is increasingly dissimilar when compared to what is cited within economics. (4) There is decreasing diversity with regards to the share of attention towards different economic subfields in the articles published in JEM when compared to economics. We discuss interpretations of this evidence for estrangement between philosophy of economics and economics. (shrink)

In 'Ethics Without Sentience: Facing Up to the Probable Insignificance of Phenomenal Consciousness' (Kammerer, 2022), I argued that phenomenal consciousness is probably normatively insignificant, and does not play a significant normative role. In 'Preserving the Normative Significance of Sentience' (Dung, 2024), Leonard Dung challenges my reasoning and defends sentientism about value and moral status against my arguments. Here I respond to Dung's criticism, pointing out three flaws in his reply. My conclusion is that the view that phenomenal consciousness is distinctively (...) significant is still very much under threat. (shrink)

Animal ethicists often distinguish between direct and indirect defenses of speciesism, where the former appeal to species membership and the latter invoke other features that are simply associated with it. The main extant charge against indirect defenses rests on the empirical claim that any feature other than membership in our species is either absent in some humans or present in some nonhumans. This paper challenges indirect defenses with a new argument, which presupposes no such empirical claim. Instead, the argument from (...) discordance resorts to the following principle: a certain feature can only justify discriminating on the basis of that feature. (shrink)

We introduce _Interleave-Disjunction-Lock parallel multiple context-free grammars_ (IDL-PMCFG), a novel grammar formalism designed to describe the syntax of free word order languages that allow for extensive interleaving of grammatical constituents. Though interleaved constituents, and especially the so-called hyperbaton, are common in several ancient (Classical Latin and Greek, Sanskrit...) and modern (Hungarian, Finnish...) languages, these syntactic structures are often difficult to express in existing formalisms. The IDL-PMCFG formalism combines Seki et al.’s parallel multiple context-free grammars (PMCFG) with Nederhof and Satta’s IDL (...) expressions. We define the semantics of IDL-PMCFGs and study their expressivity, proving that IDL-PMCFG extends both PMCFG and IDL-CFG (context-free grammars equipped with IDL expressions) and that IDL-PMCFG parsing is \(\mathrm {NP}\) -hard. We then introduce COMPĀ, a programming language extending Ranta’s Grammatical Framework (GF) and built as a high-level front-end formalism to IDL-PMCFG for practical grammar development. We present a parsing algorithm for IDL-PMCFG inspired by earlier Earley-style PMCFG parsing algorithms and Nederhof and Satta’s IDL graphs and give a worst-case estimate of its complexity as a function of several metrics on IDL expressions, the size of the input and a new notion of the _G_-density of a language. (shrink)

It is hardly necessary to rent I Spit on Your Grave or Tool Box Murders for your VCR in order to find images of sexuality contaminated by depersonalization or violence. As far back as Rabelais’ Gargantua, for example, Panurge proposes to build a wall around Paris out of the pleasure-twats of women [which] are much cheaper than stones”: “the largest … in front” would be followed by “the medium-sized, and last of all, the least and smallest,” all interlaced with “many (...) horney joy-dinguses” so that fortification would be impregnable, except for the “ordure and excretions” of the flies it would doubtlessly attract.1 Two centuries later, one of Rabelais’ compatriots, the Marquis de Lade, described the rage of a sexually initiated daughter against a woman who refuses to consider her “pleasure-twat” “cheaper than stones.” The Sadeian heroine first sodomizes her puritanical mother with an artificial penis, then has her infected with syphilis, and finally performs infibulations to prevent the infected semen from leaking out: “Quickly, quickly, fetch me needle and threat! … Spread your thighs, Mama, so I can stitch you together.”2One century later in England, the author of My Secret Life explained that, when in a state of sexual excitement, “he is ready to fuck anything,” from his sister to his grandmother, from a ten-year-old, to a woman of sixty, for a standing prick has no conscience.” To this credo, he adds the admonition, “Woe be to the female whom he gets a chance at, if she does not want him, for he will have her if he can.”3 The sexually aroused man in the contemporary American film Looking for Mr. Goodbar curses the woman who does not want him as much as she wants a room of her own and the freedom to choose a succession of male lovers. After he resentfully determines to have her when he gets the chance , he rapes her and finally knifes her to death, exclaiming “That’s what you want, bitch, right? That’s what you want.”However these individual works are labeled, such passages remind us of the long history of pornography, a gender-specific genre produced primarily by and for men but focused obsessively on the female figure. In their depictions of female sexuality, narratives from Gargantua to La Philosophie dans le boudoir, My Secret Life, and Looking for Mr. Goodbar explain why definitions of the pornographic have recently moved away from “obscenity,” a term that generally refers to the sexually stimulating effects of a picture, a novel, or a film on the male reader/observer, and toward “dehumanization,” a word that is used to evoke the objectification of women. As Irene Diamond has demonstrated, during the past decade the generally held assumption that pornography is about male sexuality has been qualified by those who argue that “the ‘what’ of pornography is not sex but power and violence, and the ‘who’ of concern are no longer male consumers and artists but women.”4 1. François Rabelais, Gargantua and Pantagruel, trans. Jacques Le Clercq , bk. 2, chap. 15. I have used this translation because it is employed in Helene Iswolsky’s translation of Mikhail Bakhtin’s Rabelais and His World . With no analysis of gender, Bakhtin’s exclusive focus on the grotesque wipes out the significance of Rabelais’ sexual imagery.2. Marquis de Sade, quoted in a brilliant reading of this text by Angela Carter, The Sadeian Woman and the Ideology of Pornography , p. 127; all further references to this work , abbreviated SW, will be included in the text.3. My Secret Life , p. 361.4. Irene Diamond, “Pornography and Repression: A Reconsideration,” in Women: Sex and Sexuality, ed. Catharine Stimpson and Ethel Spector Person , p. 132. Susan Gubar is professor of English and women’s studies at Indiana University, Bloomington. Together with Sandra M. Gilbert, she has coauthored The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination and co-edited both Shakespeare’s Sisters: Feminist Essays on Women Poets and the Norton Anthology of Literature by Women: The Tradition in English. This fall they will publish the first volume of a three-volume work, No Man’s Land: The Place of the Woman Writer in the Twentieth Century. Her previous contribution to Critical Inquiry is “ ‘The Blank Page’ and the Issues of Female Creativity”. (shrink)

Il y a une pente universitaire à s'enfermer dans les textes en perdant de vue la réalité. C'est l'aboutissement d'un vice constitutif. En effet, depuis Aristote au moins, toutes les doctrines se sont développées sur la base d'un dédoublement ontologique entre un domaine des 'idées' et un domaine de la réalité elle-même. Ce dédoublement repose sur une imagination étrangère à l'expérience. Pour y voir plus clair, il faut s'appuyer constamment sur ce qui est donné tel qu'il est donné. Pour cela, (...) il faut déplacer l'attention depuis les contenus vers la manière dont nous les saisissons consciemment en confrontant l'expérience commune et la figure scientifique corrélative"--Page 4 of cover. (shrink)