These two quotations encapsulate stories told on the same day, within hours of one another, to commissioners at an inquest into the sanctity of the itinerant Dominican preacher Vincent Ferrer . Both Katherina Guernezve and Oliverius Bourric had come before the commission in order to testify to Vincent Ferrer's miraculous resurrection of Johannes Guerre, an archer employed by the duke of Brittany. Both told how Guerre had been wounded in a fight with a fellow archer, how (...) he had been tended in the Guernezve household, how Bourric had been summoned to hear the dying man's confession, how Guerre had lost consciousness and died before confessing, and how he had returned to life following a vow to Vincent Ferrer. There are two key differences in their stories, however, apparent in the passages quoted above. First, Katherina Guernezve believed that the priest had left her house after finding Guerre unable to speak. Bourric, the priest, maintained that he was present throughout the drama that ensued. Second, Katherina asserted that she herself had urged bystanders to pray to Vincent Ferrer. Bourric insisted that this prayer had been his alone. These same differences are found in the testimony of other witnesses to the miracle. Women who were present remembered the events along the lines of Katherina's narrative; men's stories followed the priest's. (shrink)

The 14th century controversy between William of Ockham and Walter Burleigh led to the publication of autonomous treatises on the theory of supposition, such as William Sutton's Textus de Suppositionibus. Significant parallels may be found between this treatise and the Tractatus de Suppositionibus of Vincent Ferrer; such coincidences lead to the formulation of the hypothesis of a direct influence of Sutton on Ferrer.

In the fifteenth century, the desire of the laity for more convincing religious instruction in the vernacular was not entirely satisfied by wandering preachers like Vincent Ferrer , Bernardino of Siena or Giovanni of Capistrano . Therefore, north of the Alps, particularly in free cities of the Empire, so-called municipal preaching offices were introduced.3 For the most part, cathedral chapters and their bishops exerted a great influence over these foundations. Subsequently, the newly installed preachers were obliged to discipline (...) the urban population. According to the artes praedicandi, the preachers were expected to avoid any criticism of the religious hierarchy and the .. (shrink)

Capricci are nonsense drawings that delineate an elusive but inevitable sense behind or, better, within the palpable nonsense of the elementary proposition of a drawing; they are capers on a tightrope stretched between the poles of pathos and the ridiculous. We shall succeed in not falling only if we step forward boldly and know not only what we are doing but also what we are up against in the making of a picture as well as in living in the world. (...) For the world, in its yawning impudence of death and the dance of blind eagerness, ambition, and noisy speechlessness, makes us look to art not, or not necessarily, to escape from the world but rather to learn how to take its measure. . . . There is a painting ["St. Vincent Ferrer Preaching"] joined to the Passion cycle in S. Polo which demonstrates as well as any paradox ever will how Giandomenico joined piety and irony in his religious art without curtailing the glory of either. He arrives, as it were, at a God-fearing irony. We see St. Vincent Ferrer preaching. He speaks so eloquently, so convincingly in praise of the divine truth, that light shines forth from him and angel's wings grow on his shoulders. Fascinated by the miracle but even more so by the saint's words, his audience sits spellbound at his feet; in the foreground, however, sits a youth, a fop perhaps, gorgeously dressed, with a singular smile on his face, his hand musingly poised to his cheek, who looks at us quizzically. He is the link between us and the miracle. "Can you believe it?" says the smile, and perhaps "I did not—and yes—how can you now not believe it, you need but look - as I did - for there it is!" It is, I think, the face of one who knows about the truth of the absurd and its inner logic. Credo quia absurdum: if it were not so, we could prove the existence of God by feeding data into a computer, and there would be many believers, whose faith, in turn, deserved but little credit. Needless to say, perhaps, the face that so speaks to us in laughter joined to wonder is a self-portrait.1 · 1. In S. Polo the painting of St. Vincent Ferrer Preaching hangs opposite a matching picture of The Finding of the True Cross. There is a beautiful young woman on the right who looks at us beseechingly and with her right hand points at the cross. Giovanni Domenico Tiepolo who looks out of St. Vincent Ferrer Preaching cannot help but see this lady and be affected by her earnest gesture. For a reproduction of the painting, see Maruz, G. D. Tiepolo, plate 22. Philipp P. Fehl is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. He has edited Franciscus Junius: The Literature of Classical Art. His previous contribution to Critical Inquiry, "Turner's Classicism and the Problem of Periodization in the History of Art," appeared in the Autumn 1976 issue; the present essay was delivered in an earlier version at Stanford University in 1976 and is included in his collection of essays, Art and Mortality. His capricci, Birds with Titles, were exhibited in a one-man show at Kenyon College. (shrink)

Capricci are nonsense drawings that delineate an elusive but inevitable sense behind or, better, within the palpable nonsense of the elementary proposition of a drawing; they are capers on a tightrope stretched between the poles of pathos and the ridiculous. We shall succeed in not falling only if we step forward boldly and know not only what we are doing but also what we are up against in the making of a picture as well as in living in the world. (...) For the world, in its yawning impudence of death and the dance of blind eagerness, ambition, and noisy speechlessness, makes us look to art not, or not necessarily, to escape from the world but rather to learn how to take its measure.... There is a painting ["St. Vincent Ferrer Preaching"] joined to the Passion cycle in S. Polo which demonstrates as well as any paradox ever will how Giandomenico joined piety and irony in his religious art without curtailing the glory of either. He arrives, as it were, at a God-fearing irony. We see St. Vincent Ferrer preaching. He speaks so eloquently, so convincingly in praise of the divine truth, that light shines forth from him and angel's wings grow on his shoulders. Fascinated by the miracle but even more so by the saint's words, his audience sits spellbound at his feet; in the foreground, however, sits a youth, a fop perhaps, gorgeously dressed, with a singular smile on his face, his hand musingly poised to his cheek, who looks at us quizzically. He is the link between us and the miracle. "Can you believe it?" says the smile, and perhaps "I did not—and yes—how can you now not believe it, you need but look - as I did - for there it is!" It is, I think, the face of one who knows about the truth of the absurd and its inner logic. Credo quia absurdum: if it were not so, we could prove the existence of God by feeding data into a computer, and there would be many believers, whose faith, in turn, deserved but little credit. Needless to say, perhaps, the face that so speaks to us in laughter joined to wonder is a self-portrait.1 · 1. In S. Polo the painting of St. Vincent Ferrer Preaching hangs opposite a matching picture of The Finding of the True Cross. There is a beautiful young woman on the right who looks at us beseechingly and with her right hand points at the cross. Giovanni Domenico Tiepolo who looks out of St. Vincent Ferrer Preaching cannot help but see this lady and be affected by her earnest gesture. For a reproduction of the painting, see Maruz, G. D. Tiepolo, plate 22. Philipp P. Fehl is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. He has edited Franciscus Junius: The Literature of Classical Art. His previous contribution to Critical Inquiry, "Turner's Classicism and the Problem of Periodization in the History of Art," appeared in the Autumn 1976 issue; the present essay was delivered in an earlier version at Stanford University in 1976 and is included in his collection of essays, Art and Mortality. His capricci, Birds with Titles, were exhibited in a one-man show at Kenyon College. (shrink)

" Façonner le monde atome par atome " : tel est l'objectif incroyablement ambitieux affiché par les promoteurs américains de la " National Nanoinitiative ", lancée en 1999. Un projet global de " convergence des sciences ", visant à " initier une nouvelle Renaissance, incorporant une conception holiste de la technologie fondée sur [..] une analyse causale du monde physique, unifiée depuis l'échelle nano jusqu'à l'échelle planétaire. " Ce projet démiurgique est aujourd'hui au coeur de ce qu'on appelle la " (...) technoscience ", étendard pour certains, repoussoir pour d'autres. En précisant dans ce livre la signification de ce concept, pour sortir enfin du sempiternel conflit entre technophiles et technophobes, son auteur propose d'abord une sorte d'archéologie du terme " technoscience ". Loin d'être un simple renversement de hiérarchie entre science et technique, il s'agit d'un changement de régime de la connaissance scientifique, ayant désormais intégré la logique entrepreneuriale du monde des affaires et mobilisant des moyens considérables. Surtout, Bernadette Bensaude-Vincent montre que le brouillage de la frontière entre science et technique n'est que la manifestation d'un tremblement plus général, marqué par l'effacement progressif des distinctions traditionnelles : nature/artifice, inerte/vivant, matière/esprit, homme/machine, etc. Alors que nos sociétés sont silencieusement reconfigurées par les nanotechnologies, Internet, le génie génétique ou les OGM, ce livre montre l'importance de faire enfin pleinement entrer les questions de choix technologiques et scientifiques dans la sphère du politique et dans l'arène publique. Car la technoscience est un processus historique qui engage la nature en la refaçonnant et qui implique la société dans son ensemble. (shrink)

How do people make sense of their experiences? How do they understand possibility? How do they limit possibility? These questions are central to all the human sciences. Here, Vincent Crapanzano offers a powerfully creative new way to think about human experience: the notion of imaginative horizons. For Crapanzano, imaginative horizons are the blurry boundaries that separate the here and now from what lies beyond, in time and space. These horizons, he argues, deeply influence both how we experience our lives (...) and how we interpret those experiences, and here sets himself the task of exploring the roles that creativity and imagination play in our experience of the world. (shrink)

In this chapter, we propose an ecological hermeneutic phenomenology to study both the ontic and ontological structures of new and emerging technologies. In section 2, we first consult the traditional concept of phenomenology to find an entry point for our methodological considerations. It will become clear that Heidegger provides a progressive concept of hermeneutic phenomenology, although we are critical of his essentialism and linguistic focus in which there seems to be no room for the phenomenological consideration of ontic phenomena. The (...) discussion of Heidegger results in a methodological concept of an empirically informed ecological hermeneutic phenomenology that enables us to research how new and emerging technologies impact the World in which we live and act. Subsequently, we critically reflect on the epoché of phenomenology and show that a methodological concept of ecological hermeneutic phenomenology engages in an ecological transduction from technology as thematic artefact to technology as co-thematic ontological structure in which each and every artefact is grounded. (shrink)

In the unequaled and majestic contemporary technological phase of our cultural development, where democratic liberties and the means of well being are accessible to everyone; man is unsatisfied, insecure, rebellious, confused and lost. More than ever before he seems to lack the sureness of his way in life. The abundance of theories, doctrines and various philosophical, social or religious systems and moral teachings fails to provide the individual today with any clarity whatsoever. Lacking this, he turns to peripheral events, to (...) sensational occurrences; he turns his attention to more and to glaring new models of technological products. more new things, mostly Acquiring a great multitude of these and various other things, he seems to stress his own importance, thus making an inquiry in its fundamental validity superfluous. In this way he escapes the search of his very own mission; he betrays the superior powers which demand from him his existential contribution in finding his ideals and outlining the way of his life. (shrink)

Comment penser les nouvelles technologies? Après avoir enquêté dans plusieurs entreprises, Bernadette Bensaude-Vincent met à jour une vérité paradoxale : le meilleur moyen d'élaborer la philosophie des matériaux nouveaux est de reprendre les interrogations fondatrices de la pensée antique et, notamment, la notion de mixte qui permettait de comprendre ensemble, l'unité et la variété, le même et l'autre. En effet, les nouveaux matériaux (composites à fibres de carbone, kevlar, etc.) requièrent des techniques de conception et de fabrication inédites qui (...) mélangent des éléments hétérogènes sur le modèle du monde vivant. Cette originale confrontation entre le monde industriel d'aujourd'hui et la philosophie ancienne invite le lecteur à repenser la nature et l'artifice, à reconsidérer le mixte, au-delà d'une pensée pauvre de l'identique et du différent. (shrink)

In procedural-law scholarship as well as in the theoretical analysis of the notion of proof as a result of the joint assessment of all items of evidence introduced in a trial, reference is frequently made to notions such as the conviction, belief, or certainty of a judge or a jury member about what happened. All these notions underscore the mental states involved in the process of determining the facts on the part of a judge or a jury. In this analysis, (...) I look at the links between beliefs and the justification in the findings of fact provided by the judge or jury in her or its verdict. (shrink)

Although it is commonly believed that the concept of brain death was developed to benefit organ transplants, it evolved independently. Transplantation owed its development to advances in surgery and immunosuppressive treatment; BD owed its origin to the development of intensive care. The first autotransplant was achieved in the early 1900s, when studies of increased intracranial pressure causing respiratory arrest with preserved heartbeat were reported. Between 1902 and 1950, the BD concept was supported by the discovery of EEG, Crile’s definition of (...) death, the use of EEG to demonstrate abolition of brain potentials after ischaemia, and Crafoord’s statement that death was due to cessation of blood flow. Transplantation saw the first xenotransplant in humans and the first unsuccessful kidney transplant from a cadaver. In the 1950s, circulatory arrest in coma was identified by angiography, and the death of the nervous system and coma dépassé were described. Murray performed the first successful kidney transplant. In the 1960s, the BD concept and organ transplants were instantly linked when the first kidney transplant using a brain-dead donor was performed; Schwab proposed to use EEG in BD; the Harvard Committee report and the Sydney Declaration appeared; the first successful kidney, lung and pancreas transplants using cadaveric donors were achieved; Barnard performed the first human heart transplant. This historical review demonstrates that the BD concept and organ transplantation arose separately and advanced in parallel, and only began to progress together in the late 1960s. Therefore, the BD concept did not evolve to benefit transplantation. (shrink)

Although it is commonly believed that the concept of brain death was developed to benefit organ transplants, it evolved independently. Transplantation owed its development to advances in surgery and immunosuppressive treatment; BD owed its origin to the development of intensive care. The first autotransplant was achieved in the early 1900s, when studies of increased intracranial pressure causing respiratory arrest with preserved heartbeat were reported. Between 1902 and 1950, the BD concept was supported by the discovery of EEG, Crile’s definition of (...) death, the use of EEG to demonstrate abolition of brain potentials after ischaemia, and Crafoord’s statement that death was due to cessation of blood flow. Transplantation saw the first xenotransplant in humans and the first unsuccessful kidney transplant from a cadaver. In the 1950s, circulatory arrest in coma was identified by angiography, and the death of the nervous system and coma dépassé were described. Murray performed the first successful kidney transplant. In the 1960s, the BD concept and organ transplants were instantly linked when the first kidney transplant using a brain-dead donor was performed; Schwab proposed to use EEG in BD; the Harvard Committee report and the Sydney Declaration appeared; the first successful kidney, lung and pancreas transplants using cadaveric donors were achieved; Barnard performed the first human heart transplant. This historical review demonstrates that the BD concept and organ transplantation arose separately and advanced in parallel, and only began to progress together in the late 1960s. Therefore, the BD concept did not evolve to benefit transplantation. (shrink)

In jurisprudential literature, the adjective ‘defeasible’ appears as a predicate of many terms: concepts, laws, rules, reasoning, justification, proof, and so on. In this paper, we analyze the effects of some versions of the thesis of the defeasibility of legal norms on the reconstruction of the notion of legal validity. We analyze some possible justifications of this thesis considered as a claim concerning validity, and enquire into two possible sets of problems related to the defeasibility of the criteria of identification (...) of a legal system. We also provide a formalization of some options regarding defeasible criteria of identification, which can be used as a tool for meta-jurisprudential analysis. Finally, the thesis according to which defeasibility is better conceived of as a feature of legal application is examined and questioned. (shrink)

Historiography in a metaphysical mode Content Type Journal Article Pages 1-17 DOI 10.1007/s11016-011-9524-6 Authors Bernadette Bensaude-Vincent, CETCOPRA/Université Paris 1-Panthéon-Sorbonne, 17 Rue de la Sorbonne, 75231 Paris Cedex05, France Jan Golinski, Department of History, University of New Hampshire, 20 Academic Way, Durham, NH 03824, USA Lissa L. Roberts, Department of Science, Technology and Policy Studies (STePS), University of Twente, Postbox 217, 7500 AE Enschede, The Netherlands John McEvoy, Department of Philosophy, University of Cincinnati, Cincinnati, OH 45221, USA Journal Metascience Online (...) ISSN 1467-9981 Print ISSN 0815-0796. (shrink)

Résumé La défense du marché dans la tradition socialiste libérale est instrumentale : le marché est toléré lorsqu’il permet de produire des richesses en abondance que l’on peut redistribuer ex post. De son côté, la justification républicaine du marché, telle que présentée dans les travaux de Pettit, vise à réduire la domination dans l’échange. Cet article soutient qu’une telle justification nécessite d’être renforcée en l’adossant à un égalitarisme matériel, garant d’un échange entre égaux, établi ex ante.