Bourdieu’s thought is disturbing. Provocative. Scandalous even, at least for those who do not easily tolerate the unmitigated truth about the social. Nonetheless his ideas, among the most important and innovative of our time, are here to stay. This thought has taken form in the course of a career and through works on diverse subjects that have constructed a far-reaching analytical model of social life, which the author calls more readily an anthropology rather than a sociology. In their totality, they (...) constitute today an original and powerful proposal to explain human practices. In the face of criticisms commonly leveled at Bourdieu’s thought (notably the charge that it reduces everything to a single schematic model), it is important to identify the spirit of his enterprise. Early on, it is true, his thought drew on a few fundamental concepts—the trilogy habitus, field (champ), practice (pratique)—to which it constantly returned, and followed a clearly defined trajectory. At the same time, however, he continually reformulated, adapted, and refined his analytical model, depending on the operations to which he subjected new objects of inquiry. The regenerative and transformative force of his thought was supported by two convictions. First, that there being nothing more vain than theory for theory’s sake, it is preferable that theoretical production originate in the study of concrete and occasionally very specific cases. Second, that in order to escape stereotypical classifications, boundaries separating disciplines are best transgressed, thereby favoring new constructions of the object of inquiry. (shrink)

The "Notes of Dr. Smith's Rhetorick Lectures," discovered in 1958 by a University of Aberdeen professor, consists of lecture notes taken by two of Smith's students at the University of Glasgow in 1762-1763. There are thirty lectures in the collection, all on rhetoric and the different kinds or characteristics of style. The book is divided into "an examination of the several ways of communicating our thoughts by speech" and "an attention to the principles of those literary compositions which contribute to (...) persuasion or entertainment." The species of communication discussed include descriptive and narrative (or historical) composition, poetry, demonstrative oratory, panegyric, didactic or scientific language, deliberative oratory, and judicial or forensic oratory. The subjects addressed in his teachings include the style and genius of some of the best of the ancient writers and poets, especially the historians and the English classics. (shrink)

Intervertir a et b, c’est mettre b à la place de a et a à la place de b. Dans le cas où a occupait la première place et b la deuxième, c’est mettre b à la première place et a à la deuxième. Dans le cas où, de plus, a est le chiffre ‘1’ et b le chiffre ‘2’, c’est mettre 2 à la place n˚ 1 et 1 à la place n˚ 2. La théorie des substitutions combine ainsi (...) naturellement chiffres et numéros de place. Cet article montre que la confusion de ces deux éléments constitue un cas exemplaire de mécompréhension en mathématiques. Positivement, reconnaître à leur juste valeur toutes les numérotations ou paramétrisations qui interviennent en mathématiques, c’est reconnaître que les mathématiques ont rarement affaire à des structures sans l’intermédiaire essentiel de repères permettant de « fixer les idées ». L’article montre en particulier qu’une description structuraliste satisfaisante de l’objectivité mathématique ne peut faire l’économie de tels repères.To swap a and b is to put b in a’s place and a in b’s place. In case a was at the first place and b at the second, it is to put b at the first place and a at the second. In case, moreover, a is the numeral ‘1’ and b is the numeral ‘2’, it is to put 2 at the place no. 1 and 1 at the place no. 2. Substitution theory is thus led to combine numerals and numbers. This paper shows that many cases of misunderstanding in mathematics can be compared to a confusion between numerals and numbers. On a positive side, it shows how important are all the numberings or parametrizations that turn out to be pervasive throughout mathematics, as devices to « set ideas ». A mathematical structure cannot in general be reached without the medium of such points of reference. The paper shows in particular that any consistent structuralist explanation of mathematical objectivity cannot be sustained without giving them full attention. (shrink)

Tu es plongé dans le mystère de l'être. Mais il y a, dans ce grand mystère, une luminosité qu'il est possible de saisir. Je te propose donc ici ce qu'on pourrait appeler une carte dressée dont tu puisses te servir pour bien vivre en ce monde, un petit guide sur la voie de ton devenir humain, une aide qui te permette d'avancer dans l'accomplissement de ton être essentiel. Tu es un fils ou une fille de l'univers. Apprends donc à écouter (...) la mélodie du cosmos en toi-même. Dans sa beauté, elle peut fonder ton art de vivre aujourd'hui. Malgré les catastrophes inévitables et la mort tragique des individus, l'univers demeure un texte cohérent écrit de main de maître. Rappelle-toi que ton désir d'être est plus profond que tous tes désirs particuliers, et que la vie est un acte de courage, par lequel tu deviens dans ton existence quotidienne ce que tu es par essence. Veille donc à ce que tes actions, tes pensées et tes amours soient toujours les fruits du meilleur de toi-même. Vis enfin à la hauteur de ta plus haute espérance, en misant sur un sens ultime de ton existence et en continuant de croire que malgré les puissances du mal, l'Etre peut triompher du néant et la Vie de la mort. Ton courage d'être sera l'expression de ta foi dans le sens et de ta reconnaissance du noeud divin qui lie toute chose. Bénir la vie, n'est-ce pas le premier et le dernier mot d'un authentique art de vivre? (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 214 Seiten: 51-66.

Le Moyen âge par ses images é um dos mais felizes exemplos de como investigação crítica, método e interpretação podem amalgamar-se para produzir uma obra referencial carregada de valor histórico. Talvez, se dispostos isoladamente, tais elementos não provocariam o impacto no leitor, altamente proveitoso quando se pensa o conjunto do livro. A História torna-se arte, em sua plenitude, pelo encantamento que se processa em escritas como essa. Isso ocorre porque a obra de Chiara Frugoni, respeitada medievalista italiana, inova ao confrontar (...) narrativas imagéticas relacionando-as com o simbólico, o metafórico e o místico. Essa escolha metodológica é facilmente explicável: para se compreender a imagem medieval, torna-se fundamental investigar suas dimensões ideológicas, seus significados culturais e suas funções estéticas. Apenas assim, defende Frugoni, poder-se-ia projetar uma análise histórica que, agregando saberes entrelaçados, se desdobra automaticamente em temas como imaginário coletivo, formas de devoção e práticas religiosas. Ao longo de todo o livro, tais questões expandem-se em uma liberdade associativa entre personagens e contextualizações temporais. (shrink)