In French schools, La Fontaine is presented as “the height of French culture,” but he was only marginally inspired by French poets. His main sources were Spanish and Italian authors, as well as classics of both the Occident and Orient. In this way La Fontaine exemplifies, for Serres, a general pattern in which “cultures grow at the crossroads of other cultures.” One's identity develops out of numerous contacts with others, by learning from them and assimilating some of their (...) qualities—by being open to, not isolated from, the rest of the world. The non-French genealogy of the fables puts in doubt the entrenched concept of identity as involving separation and isolation.Their genealogy also sets a limit on political and moralistic interpretations of La Fontaine's stories. At school, pupils are taught that the Lion stands for the King, the Fox for the Nobles, the Lamb for the Poor. But is it possible, Serres asks, that so many poets from diverse times and places have been describing “the same society with the same hierarchies submitted to the same laws”? As for moralistic readings, Serres shows that for each fable there is a counterfable in which the winner becomes the loser. The Wolf that eats the Lamb in one fable is killed by the Hunter in another. In “The Two Mules,” the animal loading the salt is murdered by bandits, whereas in “The Ass with a Load of Sponges and the Ass with a Load of Salt,” it is the latter that survives. In other words, the fables illustrate how beings metamorphose into one another: the Wolf (the attacker) can appreciate and play the role of the Lamb (the victim) when chased by the Hunter; salt can lead to death or to freedom, depending on the circumstances. The fables, taken together, offer a collection of behaviors that we, humans and animals, are capable of: our “so-called moralities,” Serres explains, “don't speak about ethics, but about ethology.”The fables offer as well a “palimpsest [that] lies silently in our bodies and our practices.” Serres speculates that the oldest forms of the fables were not spoken, but gesticulated; they mimed animal behaviors. By imitating them, we humans not only learned about the animals we were observing and living with but also about the potentialities of our own bodies. If La Fontaine became the epitome of French culture by assimilating elements of other cultures, then it was by embodying animal behaviors that we became human. (The omnipresence of prepositions in the fables—next to, in front of, under, above—suggests that the body underpins the stories. Those little words, which Serres analyzes minutely in a long chapter, locate each body in relation to those of other beings.)Serres was planning to write a book about La Fontaine as early as 1997. In his notebooks, he scribbled possible titles, all of which are evocative: “Archaeology of Miming,” “Anthropology of Simulation,” “The Fabulous Bodies of Animals,” “The Scale and the Net.” Sadly, he died in 2019 when his work on the manuscript was progressing. He had not yet settled on a definitive title, nor had he decided the order of the chapters and sections. Jean-Charles Darmon, who was allowed to edit the work, faced chapters that were almost completed but others consisting of a single line suggesting a main idea. (The blanks are often about a type of fable never defined or described: “fables of representation.”) In spite of its incompleteness, this book intermingles systematic analysis, textual and historical contextualization, and philosophical speculation—in it, we find the conceptual inventiveness, the lexical and etymological alertness, and above all the joyfulness that characterize the whole of Serres's extraordinary oeuvre. (shrink)

"Le propos de Geneviève Gavignaud-Fontaine s'inscrit dans l'actualité d'une économie mondialement globalisée, et de sociétés ébranlées en leur tréfonds. L'ouvrage et composé de deux parties. La première retrace le cheminement intellectuel et spirituel de Thomas d'Aquin en son temps, ce qui conduit à souligner la spécificité de la méthode et de la pensée thomasiennes. Questionner le réel pour le comprendre, passer outre les apparences du monde présent, chercher dans le passé tant la part d'explication causale qu'il contient que la (...) part d'éternité qu'il transmet, et travailler à connaître l'essence des choses : voilà un programme qui ne saurait laisser indifférent! À partir de la conception thomiste de la justice (volonté vertueuse), la deuxième partie analyse d'abord les causes profondes des faits dont les conséquences minent les sociétés, puis explique pourquoi les actuels propositions intellectuelles et programmes politiques échouent à faire obstacle aux injustes misères humaines du présent début de siècle. Parties des États-Unis.dès les années 1'970 et répandues outre-Atlantique, les successives 'nouvelles théories de la justice' s'essoufflent avec le temps." --. (shrink)

Collection of previously published material, 1975-1993.

La réflexion philosophique sur la non-existence est une thématique qui a été abordée au commencement même de la philosophie et qui suscite, depuis la publication en 1905 de « On Denoting » par Russell, les plus vifs débats en philosophie analytique. Cependant, le débat féroce sur la sémantique des noms propres et des descriptions définies qui surgirent suite à la publication du « On Referring » par Strawson en 1950 n’engagea pas d’étude systématique de la sémantique des fictions. En fait, (...) le développement systématique d’un lien qui articule approches logiques, philosophiques et littéraires de la fiction devait attendre les travaux de John Woods publiés en 1974 dans son livre The Logic of Fiction : A Philosophical Sounding of Deviant Logic. Un des enjeux les plus excitants du livre de Woods se situe au niveau de l’interaction entre les points de vue internalistes ou interne-à-l’histoire (principalement pragmatiques) et les points de vue externalistes ou externe-à-la-fiction (principalement sémantiques). Sur ce point, Woods fut le premier à formuler une sémantique pour l’opérateur de fiction à lire comme « selon l’histoire… » en relation à la notion logique de portée, ce qui permettait l’étude de l’internalisme et de l’externalisme. Suite au livre de Woods, loin de s’essouffler, les débats trouvaient une nouvelle impulsion. Le fait pertinent pour notre article est que la tradition phénoménologique également, l’étude de la fiction a joué un rôle central. En effet, l’une des problématiques les plus sujettes à controverses dans l’intentionnalité est celle de l’indépendance à l’existence, c’est-à-dire le fait que les actes intentionnels n’ont pas besoin d’être forcément dirigés vers un objet existant. Influencée par les travaux de Roman Ingarden (1893-1970), l’un des plus importants disciples de Husserl, Amie L. Thomasson développe le concept phénoménologique de dépendance ontologique en vue d’expliquer les processus de références inter- et transfictionnels – dans le contexte de l’interprétation littéraire par exemple. L’enjeu essentiel de cet article est de proposer une reconstruction multimodale bi-dimensionnelle de la théorie des personnages fictionnels de Ingarden-Thomasson. Cette théorie qui entend prendre au sérieux le fait que les fictions sont des créations montre la voie pour une articulation entre les approches internalistes et externalistes. Nous motivons certains changements quant à l’approche artéfactuelle - incluant une sémantique appropriée pour l’opérateur de fictionalité qui, nous l’espérons, éveillera l’intérêt des théoriciens de la littérature. L’article est à d’autres égards un panorama de la façon dont différents concepts d’intentionnalité pourraient fonder différentes sémantiques formelles pour la fictionalité. Nous proposerons enfin un cadre dialogique qui est une extension modale d’un certain système de preuve développé par Matthieu Fontaine et Juan Redmond. Le cadre dialogique développe la contrepartie inférentielle de la sémantique bi-dimensionnelle introduite par Shahid Rahman et Tero Tulenheimo dans un article récent. (shrink)

Jenner (1749–1826) is known as the father of the smallpox vaccine. Through an inferential analysis of Jenner’s report of inquiry, in which medical practice and medical research are intrinsically intertwined, we highlight his use of abductive hypotheses. Our understanding of abduction is based on the Gabbay and Woods (2005, The Reach of Abduction Insight and Trial, 2, 39) model, in which hypotheses can be activated even when they have not been confirmed, as well as Magnani’s Select and Test model (1992, (...) 2017). We discuss the fundamental role of abductive hypotheses in experimental medicine and understood in the sense of Bernard (1865, Introduction à l’étude la médecine expérimentale). We conclude with remarks about mechanistic hypotheses discussed by Jenner, in relation to the thesis advocated by Russo and Williamson (2007, Int. Stud. Philos. Sci., 21, 157–170). (shrink)

Abraham Ibn Daud es conocido como el filósofo que en su _Ha-Emunah ha-Ramah_ (escrito originalmente en árabe ca. 1160) incorporó el aristotelismo de los _falāsifah_ musulmanes al-Farabi y Avicena al ámbito de reflexión judío. Unos 250 años después, Ḥasdai Crescas sometió este sistema a una severa crítica en su _Or Ha-Shem_ (ca. 1410). En su introducción, Crescas clasifica a Ibn Daud como un filósofo aristotélico, pero no se refiere más a él. Basándose en investigaciones previas, el artículo examina la cuestión (...) de hasta qué punto el trabajo de Ibn Daud fue relevante para Crescas. Paralelos literarios exactos que apunten a una clara influencia de Ibn Daud en Crescas con respecto a las doctrinas filosóficas son difíciles de descubrir porque las fuentes filosóficas de Ibn Daud son las mismas que las de Crescas. Además, el pensamiento de Ibn Daud muestra muchas similitudes con el de Maimónides y también con el de Gersónides, cuyas opiniones Crescas critica. La exégesis bíblica aporta más resultados: se puede demostrar que Crescas se basó en el uso de ciertos versículos bíblicos por parte de Ibn Daud. Es probable que la interpretación de Ibn Daud del Salmo 139 en relación con el problema clave del conocimiento de Dios, así como su uso de la metáfora de la luz, hayan llevado a Crescas a reflexionar sobre la relación entre filosofía y religión. (shrink)

Jean Klein a été l'un des principaux passeurs de la non-dualité indienne (advaita) et du yoga en France. Il a exercé et continue d'exercer une influence considérable dans les cercles de chercheurs spirituels. Dans cet ouvrage, Ludovic Fontaine a choisi d'interviewer trois enseignants, trois des principaux élèves de Jean Klein, qui s'inscrivent de manière originale et ouverte dans la perspective de leur maître. Eric Baret, Francis Lucille, et Jean-Marc Mantel présentent ici leur parcours spirituel, leur perspective propre sur la (...) non-dualité, l'éveil, la nature de la réalité. Ludovic les interroge également sur leur méthode d'enseignement : comment transmettent-ils l'éveil? Quel est leur rapport aux traditions (advaita vedanta, tantrisme cachemirien, yoga)? Quelles pratiques préconisent-ils? Qu'est-ce que ces pratiques non-duelles peuvent changer dans notre vie? Chacun pourra trouver dans ces magnifiques entretiens des renseignements précieux sur le chemin vers la liberté et la joie."--Page 4 of cover. (shrink)

RésuméTechnê iatrikêde Galien a été traduit en hébreu trois fois. Deux fois dans le midi, autour de l'an 1199: d'abord, à partir de la version latine de Constantine l'Africain, par un médecin anonyme qui utilisait le pseudonyme “Doeg l’Édomite”; et une seconde fois de l'arabe, par Samuel Ibn Tibbon à Béziers, laVorlageétant maintenant la version arabe de Ḥunayn Ibn Isḥāq (al-Ṣināʿa al-ṣaġīra), accompagnée par le commentaire de ʿAlī Ibn Riḍwān. (La paternité de Samuel Ibn Tibbon de cette traduction a été (...) contestée, mais elle est établie dans l'article de Gad Freudenthal dans ce numéro d’ASP.) Une troisième traduction, encore une fois du latin et comprenant le commentaire d'Ibn Riḍwān, a été réalisée par Hillel ben Samuel à Rome à la fin du XIIIesiècle, mais elle n'entre pas dans notre sujet.Nous présentons leTegniet décrivons son histoire. Puis nous posons la question pourquoi cet ouvrage a été traduit en hébreu deux fois exactement au même moment et dans la même région. Nous montrons que les deux traducteurs ont répondu à un besoin des médecins juifs lisant seulement l'hébreu. Doeg réalise sa traduction dans le cadre de son vaste projet de mise à disposition en traduction hébraïque de la plus grande partie du corpus de l’école de Salerne. Samuel Ibn Tibbon, pour sa part, a traduit leTegniavec le commentaire d'Ibn Riḍwān parce que, après avoir été médecin, il évoluait graduellement vers la vocation d'un traducteur de l'arabe en hébreu d’œuvres philosophiques et ce texte médico-philosophique était en adéquation avec cette évolution d'un médecin avec des intérêts philosophiques vers un scientifique-philosophe. (shrink)

Non pas Pourquoi la fiction?, ni A quoi pense la fiction?, ni même Que fait la fiction?, mais : Comment fait la fiction? Comment la fiction fait-elle pour défendre ou illustrer une morale, alors qu'elle se définit par son indépendance à l'égard du monde dit réel? Peut-être, d'ailleurs, n'est-ce qu'en tant qu'elle est défictionnalisée que la fiction peut promouvoir ou publier une morale. Mais il est, pourtant, des morales qui contiennent une part constitutive de fiction, et qui, en quelque sorte, (...) appellent la fiction : ainsi de la morale intuitive de Victor Hugo, ou de la morale de la liberté de Sartre. La Fontaine, La Rochefoucauld, Vauvenargues, Hugo, Tolstoï, Sartre : à première vue, les auteurs convoqués ne sont pas tous faits pour s'entendre. C'est bien pour cela qu'ils sont ici réunis. Car la fiction et la morale ne sont pas plus immuables l'une que l'autre, et c'est dans leurs intermittences, dans leurs fluctuations, dans leurs variations qu'il convient d'étudier leurs noces improbables. (shrink)

Cet ouvrage, le deuxième de la collection « Lire le xviie siècle » aux éditions Garnier, propose une lecture interdisciplinaire des contes de Perrault dont l’objectif est bien précisé dans une riche introduction. Il s’agit au travers, d’une part, d’une approche littéraire et comparatiste, d’autre part d’une analyse linguistique, d’appréhender les contes de Perrault comme des discours singuliers où tous les choix linguistiques font sens, à l’opposé du réductionnisme structural qui ramène les c...

La Fontaine’s allegory of “montrer patte blanche / showing the white paw” – from his fable «The Wolf, the Goat, and the Kid – should help me trace the problem of documenting sex and/or gender. In the first decade of the 21st century, the legislative bodies of certain social democratic countries (e.g. Australia, New Zealand, Nepal, Germany) have made a change into the binary system of presenting sex or gender on official identification documents, by introducing a third possibility – (...) that of gender indeterminacy. Would it now be possible to issue an official Id without knowing the precise sex of the person? My questioning tackles this new practice, measuring it from the standpoint of social ontology. (shrink)

"Élève-toi, mon éloquence, j'aperçois Platon qui s'élève au-dessus de l'homme! C'est sur sa bouche que les abeilles ont fait leur miel, que les rossignols ont chanté, que la déesse de la persuasion a élu son siège..." Le jésuite Nicolas Caussin témoigne ici pour nous de la mémoire du platonisme qui est celle du XVIIe siècle: un portrait de Platon en philosophe orateur s'y affirme, où la figure du Sage s'allie au prestige de l'écrivain pour consacrer comme modèle rhétorique celui que (...) Longin nomme l'Homère des philosophes. Après avoir chassé les poètes et fustigé les orateurs, le Platon des classiques redevient le théoricien du Phèdre, de l'Ion et des Lois, l'instigateur d'une philosophie éloquente et d'un lyrisme vertueux. Modèle de pensée et d'écriture pour une rhétorique du philosophique d'abord socratique, puis avec les intuitions d'un Claude Fleury, bientôt poétique, le divin philosophe nous invite alors à réfléchir sur le difficile croisement que l'humanisme classique tente d'opérer entre morale et éloquence relevée. Car ce retour d'un platonisme dans la philosophie de la rhétorique s'est effectué au sein de milieux humanistes mondains puis dévots, et a donné lieu à l'élaboration de formes extrêmement raffinées dans l'écriture de la morale. À travers la leçon de Platon, l'éloquence du Sage s'avère désormais séminale pour intégrer dans les belles-lettres une exigence de spirituel et leur accorder ainsi un nouveau prestige. C'est donc un tableau de la littérature morale à la manière de Platon qui, de La Fontaine à La Bruyère et au Fénelon du Télémaque, se trouve ici esquissé. (shrink)

Many European planning schools recently celebrated their 50th anniversary: a sign that planning education became a distinct and established discipline in Europe. Simultaneously, political regimes, paradigms, cultures, and economies continue fueling mixed connotations within the planning sector. Additionally, growing wicked problems in built areas emphasize an even greater need for well-trained planners. These challenges span climate crises, wars, authoritarian regimes, socio-political instability, and constantly changing global geopolitics. The increasingly complex demands on planners are highly pertinent for Young Academics (YA). They (...) require political, regulatory, and technical knowledge to navigate the profession. To support them and represent their voices in planning debates, the YA network (YAN) of AESOP was established in 2003. We, the current Coordination Team, use this paper to voice our take on the question of what planning challenges dominate and what can be done to prepare YAs better for the future. Building on plenty discussions within the YAN, literature, and AESOP’s activities at large, we propose: A challenge compilation for the profession, a list of core capacities, and a framework for future education. This shall aid in enabling YAs and educators today to set the foundation for planning sustainable and people-centered settlements tomorrow. (shrink)

The comments on the French Revolution by the young Marx and Engels are well-known and have been abundantly discussed. However, what is less known is that they belonged to a generation of German intellectual activists who, in the 1830s and 1840s, constantly used the French Enlightenment as a key reference to assess contemporary German philosophy and political life. This article provides an analysis of the two diverging positions on such questions articulated by two representatives of this generation: Ludwig Börne who (...) elaborated a German version of Jacobinism, and Bruno Bauer, a young Hegelian who promoted a German philosophical revolution whose radicalism and spiritual depth was capable of surpassing that of the French Revolution. Thus, as underlined by Lucien Calvié, the relationship of German intellectuals to the French Revolution during the Vormärz (pre-March) appears as an ambiguous one: just as the fox with the grapes in La Fontaine’s fable, left-wing Germans viewed revolutionary France with a mixture of envy and frustration. (shrink)

Résumé — Alors que, pour Thomas d’Aquin et Gilles de Rome, Dieu peut ajouter à la création une série infinie d’espèces de perfection croissante sans compromettre sa transcendance et sans contrevenir aux lois de la logique, Henri de Gand et Godefroid de Fontaines développent des arguments puissants contre cette même idée, arguant notamment que la production d’une telle série impliquerait une infinité en acte d’idées en Dieu. L’article montre comment, dans son Quodlibet I, q. 2 où il expose et critique (...) systématiquement les arguments de Godefroid et d’Henri, Jacques de Viterbe renoue avec une position proche de celle de Thomas et Gilles.— While Thomas Aquinas and Giles of Rome believed that God could produce an infinite number of increasingly more perfect creatures without threatening his transcendence or breaching the laws of logic, Henry of Ghent and Godfrey of Fontaines argued against that belief, holding that such an ability on God’s part would entail the existence of an actual infinity of ideas in the divine intellect. One author who was to be influenced by Henry’s arguments was Godfrey of Fontaines whose views James of Viterbo refutes in Quodlibet I, q. 2. The article examines the detail of James’s arguments against Godfrey and in favor of the view, much like Thomas’ and Giles’, that God can add to the total amount of perfection in creation. (shrink)

This is a series of essays critical of the utilitarian bioethics now dominating contemporary discussion. Analysing questions of moral theory as well as applied ethics this book aims to supply essays on matters as diverse as beginning and end-of-life issues as well as animal rights, the act-omission distinction and the principle of double effect in caring in medical ethics.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 304-317 [Access article in PDF] Sovereign Love and Atomism in Racine's Bérénice Ellen Mcclure ALTHOUGH CRITICS HAVE NOTED links between the new science of the seventeenth century and the works of La Fontaine and Molière, 1 a similar influence of Epicureanism or even Cartesianism upon French classical tragedy is harder to trace. No two areas of seventeenth-century cultural life would seem farther apart (...) than the emerging science, with its rejection of Aristotelian categories as inadequate to experienced reality, and classical French tragedy, with its antimaterialism and claims to universal truth often bolstered by references to none other than Aristotle himself. Yet René Pintard reminds us that the 1660s and 1670s—the period when many of the tragedies we regard as "classical" were written—saw a strong renewal of interest in the philosophies articulated in the first half of the century. 2 So widespread was this interest that Pierre Gassendi's friend and follower Bernier was able to publish an edition and translation of the philosopher's works in 1674-1675 which proved to be a resounding success. It is hard to believe that the much-discussed new science somehow missed writers of tragedies, especially given the extensive contacts between Molière, La Fontaine and Racine.In this article, I demonstrate this influence by positing that Racine's play Bérénice, ostensibly a reworking of a well-known love story that Corneille was also producing on the Paris stage at the same time, is in part a reflection on the pressing question of what holds the universe together. Through his exploration of the possibility of satisfactory love between two independent sovereigns, Racine explores issues that the revival of Epicureanism had brought into the philosophical foreground. This reading of the play brings into focus the incredibly [End Page 304] important, yet too-often neglected, 3 role of Antiochus, the character whom Racine invented for his version of the play. I will show that his tragic in-betweenness offers a necessary alternative to Titus' and Bérénice's valorization of self-contained sovereignty. I Before embarking on a close reading of the play itself, however, I would like to offer a brief survey of the debate to which I believe Racine refers. Both Michel Foucault and Timothy Reiss have identified the seventeenth century as a transitional period between the age of correspondences exemplified in Aristotelian philosophy and the age of representation and quantification that characterized eighteenth-century thought. 4 This transition, however, was far from smooth, as philosophers sought to articulate a universe whose separate and radically de-hierarchized elements remained somehow joined together.For most seventeenth-century philosophers, the sacrifice of Aristotelian categories and scholasticism in no way lessened the imperative for a sense of divine order and causation. Gassendi's often self-contradictory efforts to reconcile Epicurus and Christianity provide perhaps the most striking example of this transitional struggle. The atomism posited by Epicurus through Lucretius posed particular difficulties for a Christian worldview. A world governed by the chance interactions of atoms eliminates any sense that things happen for a purpose; God cannot be the benevolent author and overseer of the universe. Gassendi's equal respect for atomism and for Christianity should be read as evidence of the profound struggle between separateness and interconnection (or, as Gassendi would call it, harmony) taking place during this period. 5 For, as Bloch points out, although Gassendi partially reconciled the demands of the two systems by situating atoms in an uncreated, infinite, and contiguous space and time, he continued to hold to the profoundly troubling existence of the void in the universe. Once again, the chief objection to the void implicit in atomism was religious, since if God is everywhere, the void cannot exist, and likewise, God cannot create nothing. The revival of stoicism supplied instead a vision of the universe ultimately comprised and held together by an ethereal pneuma that some neo-Stoics did not hesitate to identify as a sort of divine presence. 6 Descartes himself made heroic attempts, in his Principes... (shrink)

"Que représentent l'« espace » et le « lieu » pour les philosophes? Quelle place occupent ces « notions » dans les différents systèmes de pensée? Sont-elles synonymes? Ont-elles des sens qui changent avec les découvertes scientifiques (en géométrie, en physique, en astronomie...)? Comment sont-elles, ou non, liées au concept de temps? Ont-elles à voir avec d'autres thèmes, comme le territoire, la ville et la campagne, le paysage? Pour la première fois, en langue française, un ouvrage rassemble les contributions de (...) philosophes confirmés, qui explorent la pensée d'auteurs majeurs de l'histoire intellectuelle occidentale en privilégiant l'espace et le lieu. Ce livre collectif complète Le Territoire des philosophes (La Découverte, 2009), qui se focalisait sur les penseurs du XXe siècle. Dix-neuf auteurs, de Platon à Nietzsche, sont ici questionnés quant à leur usage théorique de l'espace et du lieu, alors même qu'ils sont, pour la plupart, célèbres pour d'autres concepts et apports. Les contributeurs s'efforcent de situer la pensée de leur auteur dans son temps et dans la longue géohistoire des idées. La philosophie est ici entendue à la fois comme un « art de vivre » et une manière de comprendre le monde, deux dimensions inséparables dans la saisie et de l'espace et du lieu. Tout être humain est « spatio-temporalisé» et c'est seulement en ce sens qu'il habite la Terre et en fait sa demeure." Résumé commercial. (shrink)

Mimarlık felsefesinde ―yer‖, ―mekan‖, ―uzam‖, ―boyut‖ gibi kavramlar sıklıklar tekrar tekrar ele alınıp tartışılır. Bu makalede en temelde aynı şeyin ―içerisi‖ ve ―dışarı‖ kavramları için yapılması denenmiştir. İç mekanlar genellikle binaların içi olarak düşünülür ve söz konusu bir dış mekan olduğunda, bu mekanın ―içerisi‖ olarak düşünülemeyeceği varsayılır. Dışarısı asla tam olarak bir iç mekan değildir. Bu makalede, bu görüş problematize edilmiş ve ―dışarının‖ da bir ―içerisi‖ olarak deneyimlenip deneyimlenemeyeceği araştırılmıştır. İlk olarak mekan sorununu ve bunun insan ile karşılıklı ilişkisini ele (...) alındı. Mekanı deneyimleme şekillerimiz ve bunların insan bedeni ve duyularıyla özsel ilişkisi içerinin ve dışarının anlamını tanımlamada bir zemin oluşturdu. Maurice Merleau-Ponty ve Martin Heidegger üzerinden insan bedeni ve bedenin mekan ile ilişkisine dair fenomenolojik bir yaklaşım ile aynı zamanda Jean-Luc Nancy ve Derrida‘nın ―kutsal‖ üzerine görüşlerini ele alarak dışarıyı bir içerisi olarak deneyimleyebilmemizin nasıl olanaklı olduğu incelenmiştir. (shrink)

The book covers scientific and philosophical topics by bringing them closer to literature. Some topics are scientific explanation, the concept of cause, rational argumentation, pseudoscience, language, ethics, philosophy of mind, posthumanism, and democracy. Summary Prefazione di Severino Saccardi. Introduzione. Capitolo 1: Le scrivanie di Eddington. 1.1. Il vecchio Qfwfq (I. Calvino. Le cosmicomiche). 1.2. L’assassino invisibile (L.F. Celine, Il dottor Semmelweis). 1.3. Gli gnommeri di Ingravallo (C.E. Gadda, Quer pasticciaccio brutto de via Merulana). 1.4. I sergenti di Napoleone (L. Tolstoj, (...) Guerra e pace). 1.5. Tex e il Coyote nero (G. Bonelli, Il Coyote nero). 1.6. “Elementare Watson!” (A.C. Doyle, Il segno dei quattro). Capitolo 2. Non saranno mai delusi. 2.1. L’albero di Natale. (V. Perrin, Cambiare l’acqua ai fiori). 2.2. Il dagherrotipo di Buendia. (G.G. Marquez, Cent’anni di solitudine). 2.3. Don Ferrante e la peste. (A. Manzoni, I promessi sposi). Capitolo 3. Capitolo puffo. 3.1. L’Accademia di Lagado. (J. Swift, I viaggi di Gulliver). 3.2. Bruto è uomo d’onore. (W. Shakespeare, Giulio Cesare). 3.3. Le oche mute. (G. Orwell, 1984). Capitolo 4. “Quarantadue!” 4.1. Lo zio N’Ba N’Ga. (I. Calvino, Le cosmicomiche). 4.2. La mosca cocchiera. (J. de La Fontaine, Favole). 4.3. Il fiore del dr. Dek. (E. Salgari, Le meraviglie del Duemila). Capitolo 5. L’ultimo uomo. 5.1. La pernice accusatrice. (Cyrano de Bergerac, Gli stati e gli imperi del Sole). 5.2. Pallino in via Mjasnickaja. (M.A. Bulgakov, Cuore di cane). Capitolo 6. Scenari perturbanti. 6.1. Dissipatio. (G. Morselli, Dissipatio H.G.). 6.2. Un mammifero meccanizzato. (S. Butler, Erewhon). 6.3. Mlle Olimpia. (E.T.A. Hoffmann, Racconti notturni). Capitolo 7. La gente perbene. 7.1. La balena bianca. (H. Melville, Moby Dick). 7.2. Betsabea Everdeene. (T. Hardy, Via dalla pazza folla). 7.3. Un’idea francese. (C. McCarthy, Cavalli selvaggi). 7.4. Le montagne del Montana. (D. Delillo, Rumore bianco). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Visual Vertigo:Gaëlle Foray's Homage to the DiscardedAmber Bal (bio)Gaëlle Foray's artistic style invites renewed meditation upon the two human processes that surround the artwork: first, the metamorphosis of raw materials into aesthetic object at the hands of the artist, and second, the phenomenology of perceiving art. On the side of reception (in other words, the viewer's experience of Foray's works), the artworks demand first to be felt. (...) Only following an immediate visceral "strike" of abstract, unfocused perception, does the analytical eye proceed to examine these intricate works up close, parsing their immense and meticulous detail. On the side of artistic creation, Foray's methods elicit questions about the artist's relationship to Earth's finite materials, to the tension between environmental awareness and our own extractive practices. Foray's response to issues of waste and consumption at the heart of artistic endeavors is that she exclusively uses discarded materials; a form of recycling, gleaning, and/or foraging in the lived world. Yet, her approach is distinct from the well-established use of objet trouvés ("found objects") in modern art. Unlike "anti-artworks" such as Marcel Duchamp's 1917 Fontaine (a porcelain urinal signed "R. Mutt") or Piero Manzoni's 1961 Merda d'artista, both of which offer "common objects" in their original state for aesthetic contemplation, Foray's works are not "readymades." As opposed to what Steven Goldsmith describes as Duchamp's "subordinat[ion] of form to concept," Foray manipulates and defamiliarizes her recycled artistic material through processes of collage and bricolage.1 She describes the transformation of collected objects as a means of "paying homage to waste," from natural matter like animal bones, minerals, and fossils to synthetic waste such as long-discarded plastic toys or Tupperware containers, abandoned family photo albums, and démodé dinner party utensils from the eighties.2What emerges from the selection of Foray's works featured in this issue is a clash between the ephemerality of the human lifespan and planetary spatio-temporal dimensions. Her artistic process forces vertiginous acknowledgement of the fragility of human existence as it presses up against that which the human tries to capture through art: the world. What's more, Earth's monumental landscapes only ever figure as and in fragments. Two specific conflicts return across Foray's works to create this sense of vertigo. First is the contrast between the limited human lifespan and the eternity of the fossil; as the latter is often figured alongside photographs of humans or man-made materials in a manner that draws attention to this unfathomably large geological temporal scale. A secondary contrast arises from Foray's recurrent human-nature juxtaposition as the boundedness of human life continually knocks up against raw and unruly natural matter. Foray's recourse to diverse textures and materials heightens these oppositions—schist lies atop bone, the smooth veneer of a photograph envelops a human form but rests against the jagged edges of a stone. As we shall explore through ruminations on specific pieces, her method prompts inquiry into the relationship between these human [End Page 110] and geological timescales, attesting Foray's remarkable ability to capture brevity and limitlessness in tandem. Of equal note is Foray's repeated, self-reflexive wink to art's mediation of the world through a "framing effect," as she regularly makes the protective screen of a work or staging of an exhibition space integral to the artwork itself. This is her own means of drawing attention to the conditions in which the work of art is encountered, both exaggerating the distantiating function of the frame in classical art which "served to make [artwork] discontinuous with its surroundings" and building upon the "readymade" tradition's abolition of the barrier between viewer and artwork.3Foray's pieces, composed from an amalgam of natural matter and industrial or household waste, operate as self-contained ecosystems that are akin to stumbling upon a diorama that has escaped from its box, or a snowglobe whose glass sphere has been shattered and from which the liquid has drained away. In La Mer (see pages 34/35), the background's glitter and the iridescent blues... (shrink)

BACKGROUND -/- The need for detailed description and modeling of cells drives the continuous generation of large and diverse datasets. Unfortunately, there exists no systematic and comprehensive way to organize these datasets and their information. CELDA (Cell: Expression, Localization, Development, Anatomy) is a novel ontology for the association of primary experimental data and derived knowledge to various types of cells of organisms. -/- RESULTS -/- CELDA is a structure that can help to categorize cell types based on species, anatomical localization, (...) subcellular structures, developmental stages and origin. It targets cells in vitro as well as in vivo. Instead of developing a novel ontology from scratch, we carefully designed CELDA in such a way that existing ontologies were integrated as much as possible, and only minimal extensions were performed to cover those classes and areas not present in any existing model. Currently, ten existing ontologies and models are linked to CELDA through the top-level ontology BioTop. Together with 15.439 newly created classes, CELDA contains more than 196.000 classes and 233.670 relationship axioms. CELDA is primarily used as a representational framework for modeling, analyzing and comparing cells within and across species in CellFinder, a web based data repository on cells (http://cellfinder.org). -/- CONCLUSIONS -/- CELDA can semantically link diverse types of information about cell types. It has been integrated within the research platform CellFinder, where it exemplarily relates cell types from liver and kidney during development on the one hand and anatomical locations in humans on the other, integrating information on all spatial and temporal stages. CELDA is available from the CellFinder website: http://cellfinder.org/about/ontology. (shrink)

The informed consent process is the legal embodiment of the fundamental right of the individual to make decisions affecting his or her health., and the patient’s permission is a crucial form of respect of freedom and dignity, it becomes extremely important to enhance the patient’s understanding and recall of the information given by the physician. This statement acquires additional weight when the medical treatment proposed can potentially be detrimental or even fatal. This is the case of thalassemia patients pertaining to (...) class 3 of the Pesaro classification where Allogenic hematopoietic stem cell transplantation remains the only potentially curative treatment. Unfortunately, this kind of intervention is burdened by an elevated transplantation-related mortality risk , equal to 30% according to published reports. In thalassemia, the role of the patient in the informed consent process leading up to HSCT has not been fully investigated. This study investigated the hypothesis that information provided by physicians in the medical scenario of HSCT is not fully understood by patients and that misunderstanding and communication biases may affect the clinical decision-making process. (shrink)

We investigated the cognitive structure of emotions in Indonesia and The Netherlands in a series of three studies. Sets of 120 emotion terms were selected based on local ratings of prototypicality for "emotion". With similarity sortings a three-dimensional (evaluation, arousal, dominance) and a four-cluster (positive emotion, sadness, fear, anger) structure was found in each group. Of 50 pairs of translation-equivalent terms, 42 pairs were also found to be cognitively equivalent. With these equivalent terms a good fit of a common cognitive (...) emotion structure was demonstrated in both countries. In a fourth and final study, the location of two social emotions, "shame" and "guilt", in the common structure was found to be closer to "fear" and somewhat further away from "anger" in Indonesia than in the Netherlands. (shrink)

Recent philosophers, political scientists and cultural theorists have suggested that the concept of cosmopolitanism is useful to theorize an ideal relationship between different nations, and to confront the problems faced by asylum-seekers and refugees. Here, La Caze discusses Immanuel Kant's view of cosmopolitanism which occurs in the context of his teleological philosophy of history and his views on politics.

RésuméSamuel Ibn Tibbon est connu surtout comme le traducteur du Guide des Égarés de Maïmonide et comme l'auteur de l’œuvre cosmogonique audacieuse d'inspiration avicennienne Ma'amar Yiqqawu ha-mayim. Le fait que Samuel Ibn Tibbon soit également l'auteur de la traduction d'arabe en hébreu du Tegni de Galien avec le commentaire d'Ibn Riḍwān, connu sous le titre d’al-Ṣināʿa al-ṣaġīra, est attesté par les colophons de deux manuscrits, mais a récemment été nié. La question n'est pas sans importance, car, si Ibn Tibbon est (...) bien l'auteur de cette traduction, alors, comme l'avait observé Steinschneider, le commentaire de ʿAlī Ibn Riḍwān est la première traduction d'arabe en hébreu d'une œuvre d'un auteur musulman. Dans cet article je réfute les arguments contre l'attribution de la traduction à Ibn Tibbon, et, au contraire, je montre positivement qu'un examen systématique des données confirme qu'il en est bien l'auteur. Je procède notamment par un examen de l’évolution du vocabulaire philosophique d'Ibn Tibbon, espérant que ses résultats seront utiles au-delà de l'objectif immédiat qui l'a déclenché. Cet article accompagne l'article: Gad Freudenthal et Resianne Fontaine, “Philosophy and medicine in Jewish Provence, Anno 1199: Samuel Ibn Tibbon and Doeg the Edomite translating Galen's Tegni”, publié dans ce numéro d’ASP, 26, pp. 1–26. (shrink)

"When he died in 2004, Jacques Derrida left behind a vast legacy of unpublished material, much of it in the form of written lectures. With The Beast and the Sovereign, Volume I, the University of Chicago Press launches an ambitious series of English translations of these important works based upon the meticulously established original French editions." "In this seminar from 2001 and 2002, Derrida explores the persistent association of bestiality or animality with sovereignty and continues his deconstruction of the traditional (...) determinations of the human. The beast and the sovereign are connected, he contends, because neither animals nor kings are subject to the law - the sovereign stands above it, while the beast falls outside the law from below. He then traces this association through an astonishing array of texts, including La Fontaine's fable "The Wolf and the Lamb," Hobbes's biblical sea monster in Leviathan, D. H. Lawrence's poem "Snake," Machiavelli's Prince with its elaborate comparison of princes and foxes, a historical account of Louis XIV attending an elephant autopsy, and Rousseau's evocation of werewolves in The Social Contract." "Deleuze, Lacan, and Agamben also come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal." --Book Jacket. (shrink)

Classical verse work, expounding the early Vedantic approach in Hindu philosophy; Sanskrit text with Hindi translation and exhaustive introduction.

La meccanica quantistica ha costituito una grande rivoluzione scientifica e culturale che ha cambiato profondamente il nostro approccio allo studio del mondo microscopico e subatomico. La nascita e l’evoluzione delle teorie della meccanica quantistica sono rivissute attraverso la storia personale e scientifica dei protagonisti, i loro tentativi e le loro ipotesi di lavoro, le scoperte, i dubbi, le discussioni. I concetti sostanzialmente controintuitivi della nuova meccanica hanno ridisegnato il significato della nostra conoscenza del mondo degli atomi; una particolare attenzione è (...) rivolta poi all’impatto che questa nuova visione del mondo microscopico ha avuto sulla chimica e sulle nostre conoscenze della struttura e reattività degli atomi e delle molecole. (shrink)

At the outset of _Marx for Cats_, Leigh Claire La Berge declares that “all history is the history of cat struggle.” Revising the medieval bestiary form to meet Marxist critique, La Berge follows feline footprints through Western economic history to reveal an animality at the heart of Marxism. She draws on a twelve-hundred-year arc spanning capitalism’s feudal prehistory, its colonialist and imperialist ages, the bourgeois revolutions that supported capitalism, and the communist revolutions that opposed it to outline how cats have (...) long been understood as creatures of economic critique and liberatory possibility. By attending to the repeated archival appearance of lions, tigers, wildcats, and “sabo-tabbies,” La Berge argues that felines are central to how Marxists have imagined the economy, and by asking what humans and animals owe each other in a moment of ecological crisis, La Berge joins current debates about the need for and possibility of eco-socialism. In this playful and generously illustrated radical bestiary, La Berge demonstrates that class struggle is ultimately an interspecies collaboration. (shrink)