The particle internal clock conjectured by de Broglie in 1924 was investigated in a channeling experiment using a beam of ∼80 MeV electrons aligned along the 〈110〉 direction of a 1 μm thick silicon crystal. Some of the electrons undergo a rosette motion, in which they interact with a single atomic row. When the electron energy is finely varied, the rate of electron transmission at 0° shows a 8% dip within 0.5% of the resonance energy, 80.874 MeV, for which the (...) frequency of atomic collisions matches the electron’s internal clock frequency. A model is presented to show the compatibility of our data with the de Broglie hypothesis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Possible Worlds in the Tahâfut al-tahâfut:Averroes on Plenitude and PossibilityTaneli Kukkonen1.It has become customary to credit John Duns Scotus with having first systematically laid out the basis for treating the modal terms as referring to synchronic alternative states of affairs. This has been viewed as constituting a genuine shift in modal paradigms, as no former model had included the idea of genuine synchronic alternative possibilities. Historians of modal logic (...) and contemporary logicians alike have found it interesting that certain key features of Duns Scotus's theory and subsequent late medieval work markedly resemble the so-called possible worlds semantics approach of modern modal theory.1Duns Scotus' innovations were not completely without precedent. Several key elements in Scotus' theory were foreshadowed by twelfth-century developments. Perhaps somewhat amusingly, one of the most important forerunners to the Latin discussion was one in whose context the expression "possible worlds" would have made sense in a very special way.2 This is the medieval Arabic debate on the eternity of the world and its modal status. In this paper I propose to take stock of the positions the Arabs reached, and to do so by way of [End Page 329] consulting one of the documents central to the debate, the Tahâfut al-tahâfut or the "Incoherence of the Incoherence," by Abû al-Walîd Ibn Rushd (the Latin "Averroes," 1126-1198). In the first part I examine Averroes' exposition of the received Aristotelian tradition; in the second I assess the revisions to modal theory suggested by al-Ghazâlî (1058-1111), in the latter's comprehensive critique of philosophical doctrine. Though the two inquiries are obviously complementary, they can be accomplished independently of each other.It will be seen that Averroes' and his formidable adversary's views on the interpretation of the modal concepts differ quite fundamentally. What makes the ensuing debate, often fraught with misunderstandings and misrepresentation, so engaging is that both parties, in spite of their differences, refer to a common Aristotelian backdrop in questions of terminology and mode of argumentation. Both Averroes and al-Ghazâlî are well-placed to present a considered and balanced account of what they take to be crucial in the issues involved. It is on account of this that the complex interplay between the old and the new comes to the fore with exceptional force and clarity in the Tahâfut debates.2.The Tahâfut al-tahâfut, first published in 1180, is a philosophical rejoinder to an attack on philosophy, Abû Hâmid al-Ghazâlî's Tahâfut al-falâsifa or "The Incoherence of the Philosophers" (1095). In that celebrated work al-Ghazâlî had claimed to expose certain philosophical doctrines as not only contrary to orthodox Muslim belief, but also internally incoherent.3 Averroes' reply in turn was written in order "to show the different degrees of assent and conviction attained by the assertions in The Incoherence of the Philosophers, and to prove that the greater part has not reached the degree of evidence and of truth."4 The work is thus of a doubly dialectical nature. Whereas al-Ghazâlî tries to show the philosophers' reasoning to be defective, Averroes has to show both that al-Ghazâlî is likewise lacking in intellectual rigor and that philosophy, properly understood, is innocent of the charges leveled at it. If the Islamic philosophers (al-Fârâbî and, above all, Avicenna) have in fact erred, this is only to the extent that they have misrepresented correct Aristotelian doctrine. [End Page 330]Averroes' presentation is appropriately delicate considering the complexity of the task at hand. Averroes quotes al-Ghazâlî exclusively in full, lengthy passages, with the result of incorporating almost all of the Tahâfut al-falâsifa in his own work. In so doing he gives us an adequate and comparably fair representation of al-Ghazâlî's views. Averroes then goes on to discuss what al-Ghazâlî says both in the philosophers' name and in his own, and points out their respective deviations from Aristotelian doctrine. The text thus comes laid out in three successive layers, with Averroes' own... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.4 (2000) 479-502 [Access article in PDF] Possible Worlds in the Tahâfut al-Falâsifa Al-Ghazâlî on Creation and Contingency Taneli Kukkonen University of Helsinki 1. This article is the second half in an inquiry into the debate between al-Ghazâlî (1058-1111) and Averroes (1126-1198) on the metaphysical basis of modalities. The first article focused on Averroes' exposition of the Arabic Aristotelian position on the eternity (...) of the world and the modalities, as found in the Tahâfut al-tahâfut, the "Incoherence of the Incoherence [of the Philosophers]" from ca. 1180.1 In this paper I propose to sketch the outlines to a very different conception suggested by al-Ghazâlî in the Tahâfut al-falâsifa (1095) and quoted verbatim and commented upon by Averroes in the Tahâfut al-tahâfut.2 In contrast to the naturalistic model of modalities propounded by [End Page 479] Averroes, al-Ghazâlî develops an interpretation of possibility in which conceivability and co-assertability are central. In several key respects al-Ghazâlî's approach mirrors that of John Duns Scotus in the fourteenth century: it makes possible, for instance, a distinction between conceptual and natural possibilities in a manner reminiscent of later Latin medieval theory, and, reflecting this, a distinction between the (non-temporal) moments of conception and causation in the divine mind. The parallels between al-Ghazâlî's and Augustine's basic conceptions, meanwhile, highlight the theological motives lying at the heart of the new thinking.As in the previous article, the dialectical form of Averroes' later Tahâfut al-tahâfut is used for critical insight. Averroes' criticism of al-Ghazâlî's modal theoretical innovations gives rise to an important question about the lengths to which al-Ghazâlî's proposals could be taken. The issue is to an extent unresolveable; one would do well to note why. Whereas Averroes' formulations in the Tahâfut al-tahâfut are made readily understandable against the backdrop of his Aristotelian commentaries and wider systematic teaching, it is less easy to determine how far al-Ghazâlî is willing to develop his own ideas. The materials given in the Tahâfut al-falâsifa leave the impression of being inconclusive and open-ended—perhaps deliberately so—and the ambiguities are mirrored in al-Ghazâlî's other texts.3Taken as they stand, al-Ghazâlî's formulations retain a substantial Avicennian residue, for better or for worse. This makes for a curious mixture of old and new in his overall scheme, a feature which Averroes can exploit by criticizing al-Ghazâlî from a strict Aristotelian viewpoint (just as he criticized Avicenna), while all the time maintaining that his adversary's proposals do not add up to a coherent and full-bodied alternative to that venerable tradition. But Averroes' criticisms do not touch on the way al-Ghazâlî's suggestions, vague as they may be, do represent a genuine breakthrough. Al-Ghazâlî's interpretation of the modal terms bypasses the connection traditionally made between true possibility and temporal instantiation. This allows for a freer handling of counterfactual possibilities, an important feature in any refiguring of the limits of possibility. 2. Al-Ghazâlî's innovations have their root in the idea of God freely choosing (arbitrating) between alternatives equal to him. This simple kernel of an idea, seated in the kalâm conception of possibility, allows for a recognition of the genuineness of synchronic alternatives: a seemingly small shift, but all-important [End Page 480] to the ensuing debate. Al-Ghazâlî has defended the notion of God's genuine choice earlier,4 but in refuting "the third proof of the philosophers for the world's eternity," he begins to make systematic use of the notion of possibility. A brief recapitulation of the philosophers' argument will serve to recall the reasoning from which al-Ghazâlî takes his cue. The philosophers, in al-Ghazâlî's words, had... (shrink)

Autour du genre, l’anthropologie s’est historiquement intéressée davantage aux effets de murs qu’aux effets de frontières. Sur fond de féminisme puis de politisation de la sexualité, les sciences sociales entamaient pourtant un tournant. Deux types de problématiques prennent de l’ampleur : celles associées aux effets du déplacement transfrontalier, celles qui questionnent la mise en proximité physique de femmes et d’hommes issus d’origines possiblement dissemblables. Une crainte émerge alors, celle de la mise en place et de l’incorporation progressive d’une police (...) mondialisée du genre.Where gender is concerned, anthropology has always taken more interest in the effects of divisions than of boundaries. Yet, with the advent of feminism and the subsequent politicising of sexuality, the social sciences were nevertheless coming to a turning point. Issues of two kinds gained increasing importance: those linked to the effects of transboundary movements and those concerned with the women and men of possibly dissimilar origins being brought into physical proximity. A concern then emerged over the establishment and gradual incorporation of globalised gender policing. (shrink)

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to (...) them are intended to serve. (shrink)

A number of recent popular books about gender differences have drawn on the neuroscientific literature to support the claim that certain psychological differences between the sexes are ‘hard-wired’. This article highlights some of the ethical implications that arise from both factual and conceptual errors propagated by such books.

Were the Greek novels titled according to a consistent convention? This article confronts the view that the original titles were always historiographical in form (Assyriaka, Lesbiaka, Aithiopika, etc.) and that readers were thus steered to expect, in the first instance, realistic narrative. Examining the evidence in detail, it argues that the formula the novels were likeliest to have shared was ta kata + girl's name (or girl's + boy's names). On this basis, it is concluded that what the titles of (...) the novels promised was primarily invasive narratives of private life. (shrink)

Hélène Charron est une bonne connaisseuse de l’histoire des sciences sociales en France. Après avoir étudié dans sa thèse la place des femmes et leur légitimité dans le champ social de la recherche en sciences sociales au cours des cinquante premières années de leur structuration en discipline nouvelle (entre 1890 et 1940), elle s’intéresse dans ce nouveau livre au contenu de ces recherches du point de vue des rapports sociaux de sexe. Elle choisit de les analyser dans la revue emblématique (...) d... (shrink)

For Averroes, celestial circulation is evidence of a divinely mandated rational universe. This paper follows Averroes’ account on cosmic contact between the eternal and the temporal, in Tahafūt al-tahafūt contra al-Ghazālī. It argues that the polemical perspective of the Tahafūt al-tahafūt frames Averroes’ appeal to Aristotle’s account of cosmic motion. Consequently, Averroes’ exceptional account of the universe contrasts Aristotle’s exemplary account of the mutual participation of intellect and nature. Their accounts of celestial circulation implicate the status of human nature conditioned (...) by cosmic nature. As such, the possibility of human freedom rests on the nature of causality between divine intellect and cosmic manifestation. The convergence and divergence of Aristotle and Averroes regarding celestial circulation reveals Averroes’ politics that guide a rational argument for a strong cosmic causal connection between the unmoved mover and the universe, against al-Ghazālī’s rationally inaccessible divine will. (shrink)

Issues of genre and persuasion are central to ethical thought and practice. Until recently, there has been an asymmetry between religious ethics and moral philosophy in regard to these issues. Renewed attention to these issues in moral philosophy creates a new context for their consideration in religious ethics--one in which the relation of religious ethics and moral philosophy is less determinate than it has been in previous discussions. The four essays that comprise this Focus Section reflect this new context (...) while also making new contributions to perennial concerns of genre in ethical thought and practice. (shrink)

Verb tenses play an important role in managing deictic relations between the narrator, the audience and the events happening in the story world. Across languages, the Simple Past is considered the conventional story-telling tense, reflecting the prototypical deictic configuration of stories in which the narrator is positioned at some distance from the events unfolding in the story. The Simple Present, on the other hand, is considered a marked option for narration, assumed to automatically result in a shift to a subjective (...) perspective. This paper reports on an analysis of a corpus made up of Dutch fictional short stories, news reports and feature articles. The results suggest that conventions for use and interpretation of verb tenses in narrative contexts are in fact genre-dependent. In the news genres, the Simple Present tense dominated in narration. This did not automatically result in a subjective mode or narration, but was naturally used to express a default narration of story events that temporally overlap with the temporal deictic center of the communicative ground. These findings suggest that previous analyses of verb tenses in relation to narration reflect an over-generalization based on the situational characteristics of prototypical narrative genres such as literary fiction and personal anecdotes. (shrink)

Virgil's list of the qualities that are desirable in a brood cow corresponds closely to those in Varro'sDe re rusticaand in the texts which, though later, can be plausibly taken as evidence of an existing tradition. Yet, there is one exception, and it is an exception to which the poet carefully draws attention. Varro's, Columella's and Palladius’ ideal cows all share with Virgil's and with each other hairy ears, very long dewlaps and tail, and other features. However, whereas they all (...) have narrow hooves (ungulis breuibus,Palladius), moderate at most (ungulis modicis, Columella), and certainly not broad (pedibus non latis, Varro), Virgil's cow emphatically has big feet (Verg.G.3.51–9):optima toruaeforma bouis cui turpe caput, cui plurima ceruix,et crurum tenus a mento palearia pendent;tum longo nullus lateri modus: omnia magna,pes etiam, et camuris hirtae sub cornibus aures. 55nec mihi displiceat maculis insignis et albo,aut iuga detrectans interdumque aspera cornuet faciem tauro propior, quaeque ardua totaet gradiens ima uerrit uestigia cauda.The best shapefor a fierce cow is one which has an ugly head, which has a lot of neckand whose dewlaps hang from her chin all the way down to her legs;then let there be no limit to the length of her flank: let everything be big,even the foot, and hairy ears under in-curving horns,and I would approve of her being marked with white spots,either refusing the yoke or sometimes fierce with her hornand in appearance closer to a bull, and who is lofty in every respectand when walking sweeps her tracks with the tip of her tail.Few readers who have sampled the density of Virgil's intertextuality, thecurawith which he selects individual words, or the polyphonic meanings at play in every line of theGeorgicswould be tempted to ascribe any such divergence from the technical tradition to carelessness or indifference. However, even if any were inclined to do so elsewhere, the enjambed phrasepes etiamdraws emphatic attention to this dissent: ‘you may, from your familiarity with the tradition, expect the feet to be an exception, but no, they too should be large’. The reader is thus positively invited to look for an explanation. (shrink)

In corporate social responsibility reporting, companies are expected to fully disclose the negative social and environmental impacts of their activities. This study investigates how Chinese companies respond to this challenge by analyzing the representations of occupational fatalities and injuries in 92 CSR reports from 37 Chinese Fortune 500 companies. A move-step analysis was performed on one part of the CSR report, which is the section providing information on occupational incidents. It was found that the negative information was typically disclosed via (...) four rhetorical moves, which are ‘preparing the reader’, ‘delivering the bad news’, ‘mitigating the bad news’ and ‘reassuring the reader’. Communicating bad news through the four moves helps manage the reader’s perception of the reporting company and its CSR performance. The study calls for greater attention to the impression-managing aspects of companies’ self-disclosure of organizational bad news. (shrink)

Les séjours d’étude à l’étranger se sont développés après la Seconde Guerre mondiale. Plus que d’autres formes de voyage, ils permettent aux jeunes adultes de s’immerger dans la culture et le quotidien d’un autre pays. Les jeunes femmes américaines qui ont étudié en France entre la fin des années 1940 et les années 1960 ont été marquées par les stéréotypes de genre et les pratiques sociales et sexuelles auxquels elles ont été confrontées. S’appuyant sur des entretiens oraux avec d’anciennes (...) étudiantes et sur des lettres envoyées alors aux familles, cet article examine la manière dont ces Américaines ont négocié les différences culturelles, pour évaluer certains aspects de la culture française et se forger une identité individuelle plus indépendante et plus assurée. (shrink)

In this article, I begin developing what I call the genre view of public lands. It holds that public land designations fall into different genres of land management. I focus on one designation in particular—US national monuments created under the Antiquities Act—to develop the view and illustrate its significance. I characterize the national monument genre in terms of two norms stated in the Act and show how they shape public space in distinctive ways. I then illustrate how the (...) genre view opens avenues for evaluating land designations. By way of example, I evaluate national monuments according to aesthetic considerations. I argue that the genre is, perhaps surprisingly, aesthetically vexed and that there is an aesthetic reason for presidents to depart from the original intent and meaning of the Act. This also lends support for some of the most controversial national monuments. Drawing from case law, I then show how aesthetic evaluations may hold legal weight. Such considerations can also influence decisions about whether to protect an area as a monument. In these ways, the genre view offers a framework for philosophers, and particularly aestheticians, to contribute to environmental law and policy. (shrink)

This paper aims at clarifying some of the most common issues that legal translators have to face when dealing with the translation of private normative texts, such as contracts or wills, which naturally emerge as the consequence and expression of legal or juristic acts in the scope of private law, in Spanish and English. To comprehend the differences and subtleties regarding legal communication between the common law and the continental law countries (specifically the United States and Spain, respectively), we must (...) unveil some essential clues for their translation and application in the global scope of professional interactions, thus creating a process of inter-legal communication, which takes place through the mutual interpretation and application of two, or more, legal traditions. Through the deployment of a generic or pragmatic analysis at textual or discursive and formal or superficial, strata, of two types of genre within the domain of private law (namely wills and tenancy agreements, or leases) this work aims to prove that both the civil law and the common law private instruments are translatable with respect to each other. An important proviso, however, is that their legal traditions and the genres that constitute the communicative tools of their specialised communities must be duly respected and kept in equilibrium, so that one does not overshadow and obliterate the other. Only in that way can the “convergence” of the two traditions truly enrich and strengthen national and international legal culture. (shrink)

Natasha Wheatley’s The Life and Death of States: Central Europe and the Transformation of Modern Sovereignty is an interdisciplinary tour de force. The book masterfully deploys a wide range of disc...

Comme les meilleures micro-histoires, Lutter “comme les mecs” d’Ève Meuret-Campfort s’appuie sur une étude de cas – une usine avec une main-d’œuvre exclusivement féminine – pour révéler ce que les théories sociales – ici du capital militant et de la conscience de classe – considérées dans leur universalité (implicitement masculine) ne peuvent pas révéler. Lutter “comme les mecs”, expression qu’Ève Meuret-Campfort emprunte à l’une des ouvrières, adopte une approche intersectionnelle, non pas p...

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is (...) related to the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

Sylvia Wynter, novelist, dramatist, cultural critic, and philosopher, has called for a new poetics that “will have to take as its referent subject, that of the concrete individual human subject”. By “referent subject” Wynter means a shared sense, poetic in nature, that can nevertheless exclude many who are also expected to live it. Man, Wynter argues, as a referent subject first appeared in the Italian Renaissance. As Walter Mignolo has argued, this way of representing an individual is made visual in (...) Leonardo da Vinci’s Vitruvian Man, a man of perfect... (shrink)

Not many studies have focused on the analysis of the rhetorical organization of a genre and the respective frequency of occurrence of moves and steps as they occur in a corpus across disciplines – particularly, with a complementary qualitative-quantitative approach. This article aims to become a step in helping to fill this gap in research on Spanish. In this way, the textbook genre, the occurrence of its rhetorical macro-moves, moves and steps and disciplinarity are the central focus of (...) this study. More specifically, in this article we seek to determine and to compare the frequency of occurrence of macro-moves, moves and steps in a corpus of 126 university textbooks across the academic discourse of four disciplines. We distinguish the major areas of knowledge as well as the specific disciplines. The main findings show there are differences between the occurrence of some discourse moves and steps across the texts of disciplines under study, which reveals a distinctive feature in the didactic component of textbooks. So we can infer that knowledge construction process through this genre is not carried out in the same way and that disciplinarity plays an important role in the diversifying organizational discourse patterns detected. (shrink)

In the tradition of Islamic philosophy, mas̲h̲s̲h̲āʾiyyūn have been subjected to serious criticism in G̲h̲azālī’s (d. 1111) work Tahāfut al-Falāsifa, with the claim that their philosophical views are incoherent. Tahāfut, which pioneered the structural transformation of Islamic philosophy, is also the source of the tradition of Tahāfut in Islamic thought. Islamic philosophy in the Ottoman period presents a multidisciplinary structure in which the disciplines of ilm al-kalām, philosophy and taṣawwuf converge in terms of subject, purpose, and method. (...) Besides, it is the continuation of a tradition in which G̲h̲azālī’s thought is dominant in general. philosophy gained momentum with a competition for a work that Fatih Sultan Mehmed wanted to be written on G̲h̲azālī’s Tahāfut. In this competition, K̲hōd̲j̲ā-Zāde’s (d. 1488) Tahāfut al-Falāsifa and Alāʾ al-Dīn ʿAlī al-Ṭūsī’s (d. 1482) Kitāb al-Zuhr competed and K̲hōd̲j̲ā-Zāde’s work won the competition with major praise. This work of K̲hōd̲j̲ā-Zāde entitled Tahāfut al-Falāsifa has an exceptional place in terms of its contribution to both the Islamic philosophy tradition and the tradition of tahāfut. This work, in terms of its theoretical approach, which has a feature that offers insight and method of addressing the issues systematically, is a typical example to the Islamic philosophy of the Ottoman period and gained a considerable reputation at that time. The original name of K̲hōd̲j̲ā-Zāde’s work is Kitâb al-Tahāfut fi'l-Muhākama Bayna'l G̲h̲azālī wa'l Falāsifa. The work consists of twenty philosophical issues. K̲hōd̲j̲ā-Zāde explained his views on all philosophical issues in these twenty-two issues, and also discussed the issues on which G̲h̲azālī conflicted with the philosophers. Three issues that have become important in the tradition of thought after al-G̲h̲azālī denounced the philosophers constitute the main subject of the work. The instructions and annotations written on this work made a great contribution to the development of philosophy in the tradition of Ottoman thought, and moreover, in a sense, it provided the revival of the dusty volume of tahâfut discussions. In this article, by using literature and data analysis methods, the tradition of tahāfut reflecting the course of Islamic philosophy in the Ottoman period and the place and importance of K̲hōd̲j̲ā-Zāde’s tahāfut in this tradition will be revealed. Another aim of this study is the possible relations between K̲hōd̲j̲ā-Zāde's intellectual personality and the structural features of the Ottoman thought tradition. (shrink)

This article examines whether the attention to cultural products on the internet is more democratically structured than in traditional print media, and how these types of media attention affect commercial success. For the U.S. fiction book releases in February 2009, I analyze consumer ratings at the web store Amazon.com and the social networking site Goodreads.com. The results show that on the internet far more books receive attention, and that this indeed comes to the advantage of female authors and authors of (...) popular fiction. Moreover, online publicity positively affects commercial success. These outcomes suggest that online attention to cultural products dampens the effects of institutionally embedded evaluations, while word-of-mouth mechanisms are becoming increasingly prominent in terms of how cultural products are discussed. (shrink)

La Résistance aux régimes fascistes instaurés à partir des années 1930 tout autant que les combats contre l’occupation allemande d’une grande partie de l’Europe durant la Seconde Guerre mondiale, a longtemps été assimilée à une affaire d’hommes, même si ceux-ci n’ont pas manqué de rendre hommage aux femmes qui les avaient accompagnés. Cette conception, portée par les acteurs comme par les historiens, a dominé récits et études de 1945 à la fin des années 1970. L’essor de l’histoire des femmes...

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].