I first characterize a moral mistake in coercion. The principle of independence with which I criticize coercion seems also to condemn exchange. I propose an account of exchange from which it follows that exchange upholds independence after all. In support of that account I argue that, of the accounts of exchange that occur to me, only this one has the consequence that, on general assumptions, a person can take part in exchange while acting, intending, and believing with sufficient reason. I (...) argue that the hiring of very poor people by very rich people for labor from which the rich draw a substantial surplus does not give rise to an exchange of this kind. These instances of the wage labor relation resemble coercion insofar as they violate independence. (shrink)

La nature de la conscience est au centre de la discussion actuelle sur la personne humaine. Bien que certains philosophes fassent de la conscience la clef fondamentale et de toute l'épistémologie, la plupart des scientifiques la réduisent aux intéractions complexes du cerveau. Le présent article tire sa matière de l'analyse que saint Thomas d'Aquin fait de cette notion dans son De Veritate . Il caractérise la conscience en termes de connaissance et d'application de la connaissance à l'agir. L'A. cherche à (...) donner une définition pour montrer que la conscience dépend directement d'un syllogisme pratique. (shrink)

According to the acousmatic thesis defended by Roger Scruton and others, to hear sounds as music is to divorce them from the source or cause of their production. Non-acousmatic experience involves attending to the worldly cause of the sound; in acousmatic experience, sound is detached from that cause. The acousmatic concept originates with Pythagoras, and was developed in the work of 20th century musique concrète composers such as Pierre Schaeffer. The concept yields important insights into the nature of musical experience, (...) but Scruton's version of the acousmatic thesis cannot overcome objections arising from timbral and spatial aspects of music, which seem to relate sounds to the circumstances of their production. These objections arise in part from music's status as a performing art rooted in human gesture and behaviour. Hence I defend a two-fold thesis of "hearing-in", which parallels Richard Wollheim's concept of "seeing-in": both acousmatic and.. (shrink)

A complex world like ours demands for the teachers and professors to command intercultural competences in order to avoid the instrumentalization of the alterities. It is precisely the professionals of education who, given their social function, have the responsibility of forming the citizens of the future in attitudes and behaviours adjusted to plural communities. This article presents the first part of a research project carried out by researchers from Barcelona, Marseille, Rabat and Beirut on the complex world of the respect (...) necessary to face prejudices and stereotypes. (shrink)

Generic oppositions create an interplay of different voices in Satires 12, particularly between the genus tenue, variously nuanced, and the big genres of epic and tragedy. The integrity of the poetic idylls of a lyric Horace is contrasted with the more compromised sanctuary of Juvenal, struggling to accommodate his luxurious friends or, less kindly, practising friendship in a world in which everything is negotiable. Beyond an ahistorical opposition of generic voices emerges a narrative of intertextual influence in which Juvenal is (...) drawn from an idyll of Augustan purity into the mercantile space of his contemporary Martial. (shrink)