"'This book,' Michael Fried's work opens, 'was written not so much chapter by chapter as painting by painting over a span of roughly ten years.' Courbet's Realism is a magnificent work and its very first sentence brings us up against the qualities of mind of its author, qualities that make it as impressive as it is. It allows us to reconstruct the keen eye, the commitment to perception, the gift of rapt concentration, the conviction that great paintings are not necessarily (...) understood easily, and the further conviction that a great painter deserves to get from us as good as he gives. By drawing on these qualities, Fried achieves something out of reach for all but a handful of his colleagues. In his writing, art history takes on some of the character of art itself. It is driven by the same stubborn resolve to open our eyes."—Richard Wollheim, San Francisco Review of Books Courbet's Realism is clearly a major contribution to the highly active field of Courbet studies.... But to contribute here and now is necessarily also to contribute to central debates about art history itself, and so the book is also—I hesitate to say 'more importantly,' because of the way object and method are woven together in it—a major contribution to current attempts to rethink the foundations and objects of art history.... It will not be an easy book to come to terms with; for all its engagement with contemporary literary theory and related developments, it is not an application of anything, and its deeply thought-through arguments will not fall easily in line with the emerging shapes of the various 'new art histories' that tap many of the same theoretical resources. At this moment, there may be nothing more valuable than such a work."—Stephen Melville, Art History. (shrink)

Nel 1881, per i tipi dell’editore Brigola di Milano, vedeva la luce Macchiette parigine, un compendio di profili biografici che lo scrittore siciliano Emanuele Navarro della Miraglia (1838-1919) dedicava a eminenti personalità della cultura letteraria e artistica francese di metà Ottocento.Francesista, a lungo residente a Parigi (1864-1872), in contatto a Milano con gli ambienti della scapigliatura lombarda (1872-1882) e da ultimo professore di Lingua e letteratura francese presso l’Istituto superiore di magistero femminile di Roma (1883-1913), Navarro della Miraglia includeva fra (...) le sue “macchiette” anche due ritratti d’artisti dedicati rispettivamente a Gustave Courbet e a Jean-Baptiste Carpeaux.Questo contributo si propone di definire il contesto e le ricadute di una lettura non allineata alla tempestiva e più “ortodossa” discussione della lezione di Courbet promossa da Diego Martelli presso i macchiaioli toscani, a beneficio di una geografia culturale diversamente articolata fra le aperture cosmopolite del naturalismo meridionale e le frange più avanzate della scapigliatura lombarda. Allo stesso modo il resoconto dell’atelier di Carpeaux è riconsiderato alla luce del coevo dibattito sulla scultura monumentale e delle ricerche in corso a Milano su un modellato più mosso e nervoso. (shrink)

Alors que Bernard Teyssèdre avait publié en 2007 une nouvelle édition de son Roman de l’Origine revue et augmentée (et que Thierry Savatier était sur le point de publier une nouvelle édition de L’Origine du monde, Histoire d’un tableau de Gustave Courbet ), Jean Da Silva lui apprit qu’une photographie du tableau exposé au musée d’Orsay avait circulé en France pendant une vingtaine d’années avant d’être publiée en 1953 dans des revues oubliées ; ce qui bouleversait l’idée que l’on (...) avait encore en 2009 de la connaissance de ce tableau. S’ensuivit ensuite un jeu de piste à deux, sur le blog, par courriels et au téléphone. (shrink)

In the pages that follow I looked closely at two major paintings by Gustave Courbet : the After Dinner at Ornans, perhaps begun in the small town of the title but certainly completed in Paris during the winter of 1848-49; and the Stonebreakers, painted wholly in Ornans just under a year later. The After Dinner and the Stonebreakers are the first in a series of large multifigure compositions--others are the Burial at Ornans and the Peasants of Flagey Returning from (...) the Fair —that mark not only Courbet's maturity as an artist but his emergence as a disruptive force, almost a one-man wrecking crew, in the cultural politics of his time. They are also those works in which his self-declared identity as a Realist first becomes manifest, and probably the chief concern of the most interesting recent scholarship on Courbet has been to try to decode that epithet in social-historical terms, or at any rate to situate his activity as a painter during the years 1848-55 in the context of the social and political struggles that accompanied the creation of the Second Republic and its subversion by Louis Bonaparte.2 At the core of that tradition, motivating and, as it were, mobilizing it, is the demand that the painter succeed in placing in abeyance the primordial convention that paintings are made to be beheld—that he contrive in one way or another to establish the fiction, the meta-illusion, that the beholder does not exist, that there is no one standing before the picture. From Greuze through Gèricault, this was chiefly to be accomplished in and through the medium of visual drama, that is, by representing figures so deeply absorbed in their actions, emotions, and states of mind and furthermore so efficaciously bound together in a single comprehensive dramatic situation that they would strike one as absolutely immured in the world of the painting and a fortiori as oblivious to the very possibility of being viewed. And one way of describing the crisis that I believe overtook French painting by the 1820s and '30s is to say that the dramatic as such came more and more to be revealed as inescapably theatrical—that the array of conventions that once had served to establish the meta-illusion of the beholder's nonexistence now seemed merely to attest to his controlling presence.1. The present essay is adapted from a book-length study, in progress, of Courbet's art. Recent books and articles emphasizing social and political considerations include Linda Nochlin, Gustave Courbet: A Study of Style and Society ; T.J. Clark, "A Bourgeois Dance of Death: Max Buchon on Courbet," Burlington Magazine 111 : 208-12, 282-89, and Image of the People: Gustave Courbet and the Second French Republic, 1848-51 ; Jack LIndsay, Gustave Courbet: His Life and Art ; Klaus Herding, ed., Realismus als Widerspruch: Die Wirklichkeit in Courbets Malerei ; Herding, "Les Lutteurs 'détestables': Critique de style, critique sociale," Histoire et critique de l'art 4-5 : 94-122; and James Henry Rubin, Realism and Social Vision in Courbet and Proudhon .2. For an account of the early evolution of that tradition, see my Absorption and Theatricality: Painting and Beholder in the Age of Diderot , as well as the essays on Courbet cited in n. 3.Michael Fried, professor of humanities and the history of art at the Johns Hopkins University, is the author of Morris Louis and Absorption and Theatricality: Painting and Beholder in the Age of Diderot. He is currently at work on a book on Courbet. (shrink)

From Jean-Luc Marion’s examination of Gustave Courbet and his painting, it is shown how grief can operate as a model for the hermeneutics of love. This hermeneutics of grief, in turn, makes possible a consideration of all phenomena, and not only the human, as saturated phenomena.

T. J. Clark’s two early books, The Absolute Bourgeois: Artists and Politics in France, 1848–1851 and Image of the People: Gustave Courbet and the 1848 Revolutio.

À la croisée de la philosophie et de l’histoire de l’art, Bernard Teyssèdre a ouvert des champs de recherche très divers, ce qui a suscité l’enthousiasme de ses étudiants, mais aussi déconcerté ceux qui restaient attachés à leur pré carré disciplinaire. Présenter aujourd’hui son parcours intellectuel revient à faire redécouvrir certains de ses travaux oubliés en esthétique afin de montrer leur singularité et leur cohérence profondément hégélienne, bien que ses recherches aient pris des formes très différentes et abordés avec érudition (...) des domaines très éloignés les uns des autres. Sans oublier de situer philosophiquement des aspects moins connus de ses activités, littéraires, artistiques et aussi institutionnelles avec sa contribution déterminante au développement de la discipline esthétique et à l’introduction des arts plastiques à l’université. Ce panorama n’aurait pas été complet si n’était pas signalée la place de ses recherches en paléontologie restées longtemps secrètes et a priori fort éloignées de l’esthétique. Alors que Bernard Teyssèdre avait publié en 2007 une nouvelle édition de son Roman de l’Origine revue et augmentée (et que Thierry Savatier était sur le point de publier une nouvelle édition de L’Origine du monde, Histoire d’un tableau de Gustave Courbet ), Jean Da Silva lui apprit qu’une photographie du tableau exposé au musée d’Orsay avait circulé en France pendant une vingtaine d’années avant d’être publiée en 1953 dans des revues oubliées ; ce qui bouleversait l’idée que l’on avait encore en 2009 de la connaissance de ce tableau. S’ensuivit ensuite un jeu de piste à deux, sur le blog, par courriels et au téléphone. (shrink)

Naturalism is a term that stands for a family of positions that endorse the general idea of being true to, or guided by, “nature”, an idea as old as Western thought itself (e.g. Aristotle is often called a naturalist) and as various and open-ended as interpretations of “nature”. Since the rise of the modern scientific revolution in the seventeenth century, nature has increasingly come to be identified with the-worldas-studied-by-the-sciences. Consequently, naturalism has come to mean a set of positions defined in (...) terms of the scientific image of nature or the methods of scientific inquiry. In this brief article I shall focus upon explicating three versions of scientific naturalism: 1) naturalism in the arts especially literature; 2) philosophical naturalism; and 3) naturalism in the social sciences. These different naturalisms correspond to different ways of appealing to science, whether it be adopting a scientific stance towards human and social life, or a broadly empirical approach to inquiry in general, or a scientific worldview. Naturalism in field of the arts refers to art that depicts everyday subjects in a ‘realistic’ manner, one free from stylisation, idealization or academic convention. Although the term has been used to describe a style of painting since the late seventeenth century (e.g. Caravaggio’s), it only became an important term of art criticism in the nineteenth century, Gustave Courbet being one of the leading examples. Naturalism as a literary category was first applied to a genre of French fiction exemplified by Emile Zola, which builds on the anti-romantic ‘realist’ fiction of Gustav Flaubert and Honoré de Balzac, writers who deliberately adopt a scientific – that is, detached and objective -- approach to human life. The vision of the human depicted in naturalist literature owes much to a picture of the world suggested by Darwin’s theory of evolution: a purposeless, Godless world of competitive striving where the notion of free will is treated with suspicion.. (shrink)

It is not intended as some sort of revelation on my part that Greenberg's cultural theory was originally Marxist in its stresses and, indeed in its attitude to what constituted explanation in such matters. I point out the Marxist and historical mode of proceeding as emphatically as I do partly because it may make my own procedure later in this paper seem a little less arbitrary. For I shall fall to arguing in the end with these essay's Marxism and their (...) history, and I want it understood that I think that to do so is to take issue with their strengths and their main drift.But I have to admit there are difficulties here. The essays in question ["Avant-Garde and Kitsch" and "Towards a Newer Lacoön"] are quite brief. They are, I think, extremely well written: it was not for nothing the Partisan Review described Clement Greenberg, when he first contributed to the journal early in 1939, as "a young writer who works in the New York customs house"—fine, redolent avant-garde pedigree, that! The language of these articles is forceful and easy, always straightforward, blessedly free from Marxist conundrums. Yet the price paid for such lucidity, here as so often, is a degree of inexplicitness—certain amount of elegant skirting round the difficult issues, where one might otherwise be obliged to call out the ponderous armory of Marx's concepts and somewhat spoil the low of the prose from one firm statement to another. The Marxism, in other words, is quite largely implicit; it is stated on occasion, with brittle and pugnacious finality, as the essay's frame of reference, but it remains to the reader to determine just how it works in the history and theory presented—what that history and theory depend on, in the way of Marxist assumptions about class and capital or even abase and superstructure. That is what I intend to do in this paper: to interpret and extrapolate from the texts, even at the risk of making their Marxism declare itself more stridently than the "young writer" seems to have wished. And I should admit straight away that there are several point in what follows where I am genuinely uncertain as to whether I am diverging from Greenberg's argument or explaining it more fully. This does not worry me overmuch, as long as we are alerted to the special danger in this case, dealing with such transparent yet guarded prose, and as long as we can agree that the project in general—pressing home a Marxist reading of texts which situate themselves within the Marxist tradition—is a reasonable one.22. This carelessness distinguishes the present paper from two recent studies of Greenberg's early writings, Serge Guilbaut's "The New Adventures of the Avant-Garde in America," October 15 , and Fred Orton and Griselda Pollock's "Avant-Gardes and Partisans Reviewed," Art History 3 I am indebted to both these essays and am sure that their strictures on the superficiality—not to say the opportunism–of Greenberg's Marxism are largely right. But I am nonetheless interested in the challenge offered to most Marxist, and non-Marxist, accounts of modern history by what I take to be a justified though extreme, pessimism as t the nature of established culture since 1870. That pessimism is characteristic, I suppose, of what Marxists call an ultraleftist point of view. I believe, as I say, that a version of some such view is correct and would therefore with to treat Greenberg's theory as if it were a decently elaborated Marxism of an ultraleftist kind, on which issues in certain mistaken views but which need not so issue and which might still provide, cleansed of those errors, a good vantage for a history of our culture.T. J. Clark, professor of fine arts at Harvard University, is the author of The Absolute Bourgeois: Artists and Politics in France, 1848-1851 and Image of the People: Gustave Courbet and the 1848 Revolution. His book on impressionist painting and Paris is forthcoming. (shrink)

The basic disagreement between Richard Shiff and me is one of approach and ultimately of intellectual taste. What I tried to do in “Painting memories” was read Charles Baudelaire’s Salon of 1846 with a view to construing its central argument as rigorously as possible, which for me meant without appealing, except in one crucial, authorized instance, to other writings by Baudelaire or indeed anyone else. This seemed to me desirable, first, because on the strength of a long familiarity with the (...) Salon of 1846 I had become convinced that it was not the fragmented, somewhat incoherent, less than fully mature performance that many previous commentators had taken it to be but rather that it possessed a problematic consistency, even systematicness, which I wanted to explore; and second, because I had come to feel that one of the principal sources of the dreariness and predictability of much exegesis not only of that Salon but of Baudelaire’s art criticism generally was the tendency of many commentators to treat his art writing as a single, barely differentiated mass, to be supplemented when desired by selected passages from the lyric poems. Let me be as clear as I can. I am not claiming that the only fruitful approach to Baudelaire’s art criticism is to consider each of his writings in isolation from the rest. I am saying that the widespread tendency to read a particular Salon or article on the visual arts in the light of others has meant that insufficient attention has been paid to the workings of individual texts, with dismaying consequences both for our understanding of those texts and for our sense of the shape of Baudelaire’s intellectual career. Michael Fried, professor of humanities and the history of art and director of the Humanities Center at the Johns Hopkins University, is the author of Morris Louis and Absorption and Theatricality: Painting and Beholder in the Age of Diderot. He is currently at work on books on Gustave Courbet and on Thomas Eakins and Stephen Crane. His most recent contributions to Critical Inquiry are “The Structure of Beholding in Courbet’s Burial at Ornans” and “Paitnig Memories: On the Containment of the Past in Baudelaire and Manet”. (shrink)

Essay on the modern artistic ego as sponsored by the exhibition, "Gustav Courbet," February 27-May 18, 2008, Metropolitan Museum of Art, New York, New York, USA. A version of this essay appeared in Gavin Keeney, "Else-where": Essays on Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 191-98.

Near the beginning of Charles Baudelaire’s Salon of 1846—one of the most brilliant and intellectually ambitious essays in art criticism ever written—the twenty-five-year-old author states that “the critic should arm himself from the start with a sure criterion, a criterion drawn from nature, and should then carry out his duty with a passion; for a critic does not cease to be a man, and passion draws similar temperaments together and exalts the reason to fresh heights.”1 It may be the emphasis (...) on passion, indeed on strong personal feeling of every kind, not only here but everywhere in the Salon, that has prevented commentators from taking wholly seriously the possibility that a single criterion is in fact at work throughout it. But what if that criterion operates in the realm of feeling, if it is itself a feeling or complex of feelings, and if, moreover, as Baudelaire as much as says, no conflict between the claims of reason and of passion exists within his conception of the critical enterprise? Not that scholars have failed to recognize either the brilliance or the ambitiousness of the Salon of 1846; on the contrary, it is widely regarded as the major extrapoetic text of Baudelaire’s early career and especially in recent years has received extensive commentary. But by and large, those who have written about it have focused primarily on topics, such as Baudelaire’s conception of nature, his vision of the creative process, and the relation of his ideas to those of other critics, that seem to me, if not quite pseudoproblems, at any rate concerns that lead us to ignore what the text may be saying about its own manner of proceeding.2 I acknowledge, too, that certain features of that manner—the mixture of irony and seriousness in the opening dedication to the bourgeois, the many abrupt fluctuations of tone in the body of the essay, the seeming breaks in the argument from section to section, the texture and movement of the prose—could hardly be less systematic in effect. And yet it would not be hard to show that the Salon as a whole is the product of a remarkable effort, not merely to ground the judgment of individual works of art in a single experiential principle but also to bind together a number of diverse concerns—pictorial, literary, political, philosophical—in an intellectually coherent structure every part of which is meant to be consonant with every other. No wonder the last sentence of the Salon apostrophizes Balzac: the sheer inclusiveness of Baudelaire’s undertaking recalls nothing so much as the scope of the Comédie humaine. 1. Charles Baudelaire, Salon of 1846, Art in Paris 1845-1862: Salons and Other Exhibitions, ed. and trans. Jonathan Mayne , pp. 101-2. All further references to the Salon of 1846 will be included parenthetically in the text . I have also consulted the recent edition, Baudelaire: “Salon de 1846,” ed. David Kelley , which includes a useful introduction and bibliography.2. See, for example, Margaret Gilman, Baudelaire, the Critic , pp. 12-53 and 77-111; F. W. Leakey, “Les Esthétiques de Baudelaire: Le ‘Système’ des annés 1844-1847,” Revue des sciences humaines, n.s., fasc. 127 : 481-96, and Baudelaire and Nature , pp. 73-88; and Kelley, “Deux Aspects du Salon de 1846 de Baudelaire : La Dédicace aux bourgeois et la couleur,” Forum for Modern Language Studies 5 : 331-46, and introduction to Baudelaire: “Salon de 1846,” pp. 1-114. Michael Fried, professor of humanities and the history of art and director of the Humanities Center at the Johns Hopkins University, is the author of Morris Louis and Absorption and Theatricality: Painting and Beholder in the Age of Diderot. He is currently at work on a book on Gustave Courbet. His most recent contribution to Critical Inquiry, “The Structure of Beholding in Courbet’s Burial at Ornans,” appeared in the June 1983 issue. (shrink)

On s’interroge, dans ce livre, sur la façon dont les peuples sont représentés : question indissolublement esthétique et politique. Les peuples aujourd’hui semblent exposés plus qu’ils ne l’ont jamais été. Ils sont, en réalité, sous-exposés dans l’ombre de leurs mises sous censure ou – pour un résultat d’invisibilité équivalent – sur-exposés dans la lumière artificielle de leurs mises en spectacle. Bref ils sont, comme trop souvent, exposés à disparaître. À partir des exigences formulées par Walter Benjamin (une histoire ne vaut (...) que si elle donne voix aux « sans noms ») ou par Hannah Arendt (une politique ne vaut que si elle fait surgir ne fût-ce qu’une « parcelle d’humanité »), on interroge ici les conditions d’une possible représentation des peuples. Cela passe moins par l’histoire du portrait de groupe hollandais et des « portraits de troupes » totalitaires que par l’attention spécifique accordée aux « petits peuples » par les poètes (Villon, Hugo, Baudelaire par exemple), les peintres (Rembrandt, Goya ou Gustave Courbet), les photographes (Walker Evans, August Sander ou, pour un exemple contemporain, Philippe Bazin). Le cinéma, quant à lui, nomme figurants ces « petits peuples » devant lesquels agissent et s’agitent les « acteurs principaux », les stars comme on dit. D’où que les figurants incarnent un enjeu crucial, historique et politique, du cinéma lui-même, depuis sa naissance – La Sortie des usines Lumière – jusqu’à ses élaborations modernes chez Eisenstein et Rossellini, et bien au-delà encore. Une longue analyse est ici consacrée au travail de Pier Paolo Pasolini, à sa façon de retrouver les « peuples perdus » dans leurs « gestes survivants », selon un processus que permettent d’éclairer les analyses d’Erich Auerbach (pour les formes poétiques), d’Aby Warburg (pour les formes visuelles) et d’Ernesto De Martino (pour les formes sociales). Sans oublier quelques exemples plus contemporains, tel que le film du Chinois Wang Bing intitulé, précisément, L’Homme sans nom. (shrink)

The Crowd: A Study of the Popular Mind (French: Psychologie des Foules; literally: Psychology of Crowds) is a book authored by Gustave Le Bon that was first published in 1895. In the book, Le Bon claims that there are several characteristics of crowd psychology: "impulsiveness, irritability, incapacity to reason, the absence of judgement of the critical spirit, the exaggeration of sentiments, and others. Le Bon claimed that "an individual immersed for some length of time in a crowd soon finds (...) himself - either in consequence of magnetic influence given out by the crowd or from some other cause of which we are ignorant - in a special state, which much resembles the state of fascination in which the hypnotized individual finds himself in the hands of the hypnotizer. (shrink)

Drawing on the theory of engagement, the present study aims to examine the outcomes of the co-creation experience in a realistic co-creation setting, a hotpot restaurant. To this end, the current research links the relationship marketing literature to hospitality and tourism research and formulates a novel framework by incorporating tourists’ co-creation experience, brand evangelism, brand trust, and brand passion in an integrated conceptual model. Using a quantitative research design, a total of 453 international tourists were surveyed in China. The findings (...) revealed that co-creation experience dimensions positively impact brand evangelism, trust, and passion. Additionally, we found that brand trust and brand passion positively affect brand evangelism. We also confirmed the mediating effect of brand trust and brand passion in bridging the co-creation experience and brand evangelism. This study offers valuable insights for restaurant brand managers regarding attracting and engaging foreign travelers with their service businesses. (shrink)

" La guerre européenne représente les débuts d'une ère de bouleversements. Boule­versement de l'existence, bouleversement des sentiments, bouleverse­ment des pen­sées. Nous sommes arrivés peut-être à une de ces périodes de l'histoire où, comme au mo­ment de la Révolution française, les hommes changent leur idéal, leurs principes et aussi leurs élites. Les peuples sont rapidement poussés vers un avenir qu'aucune lueur n'éclaire encore. L'imprévisible les domine. Des conceptions politiques et morales, tenues pour inébranlables, semblent destinées à disparaître. Théories et doctrines s'éva­nouissent (...) tour à tour. Plus de lendemains assurés. Les forces psy­chologiques qui s'entrechoquent dans les combats, commencent à peine leur oeuvre.". (shrink)

Many American progressives consider themselves both liberals and environmentalists, and, though the organisations representing these two causes should be working together, they rarely do. Moreover, the emerging split over the role of economic growth could push liberal and environmentalist leaders further apart. This lecture discusses how to bridge the gap between liberals and environmentalists by fusing progressive causes into a common agenda. The two causes are not, as many believe, mutually exclusive, but are instead mutually supportive: liberals need environmentalists to (...) succeed and environmentalists need liberals to succeed. (shrink)

We propose leveraging cognitive science research on emotions and communication to improve language models for emotion analysis. First, we present the main emotion theories in psychology and cognitive science. Then, we introduce the main methods of emotion annotation in natural language processing and their connections to psychological theories. We also present the two main types of analyses of emotional communication in cognitive pragmatics. Finally, based on the cognitive science research presented, we propose directions for improving language models for emotion analysis. (...) We suggest that these research efforts pave the way for constructing new annotation schemes, methods, and a possible benchmark for emotional understanding, considering different facets of human emotion and communication. (shrink)

In his presidential address on “Symbols, Signs, and Signals,” given before the Association for Symbolic Logic, December 28, 1938, Professor C. J. Ducasse made and important distinction between what he there called the indicative and the quiddative symbol. He remarked in passing that he thought it possible to show that: 1) “The same entity may function both as indicative and as quiddative symbol: or one part of a complex symbol may be quiddative and another indicative”; and 2) “the difference between (...) the two roles is irreducible: the indicative is not a species of the quiddative nor vice versa.” An indicative symbol is defined as “one of which the distinctive property is to orient our attention to some place in an order system …”; and a quiddative symbol as “one of which the distinctive property is to make us conceive a certain kind of thing—a certain ‘what'—no matter where in any order system it may or may not be existing.”. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

livre I. Les forces qui mènent l'histoire.--livre II. Pendant les batailles.--livre III. La psychologie des peuples.--livre IV. Facteurs matériels de la puissance des nations.--livre V. Facteurs psychologiques de la puissance des peuples.--livre VI. Le gouvernement moderne des peuples.--livre VII. Perspectives d'avenir.--livre VIII. Dans le cycle de la science.

The recognition is growing: truly addressing the problems of the 21st century requires going beyond small tweaks and modest reforms to business as usual--it requires "changing the system." But what does this mean? And what would it entail? The New Systems Reader highlights some of the most thoughtful, substantive, and promising answers to these questions, drawing on the work and ideas of some of the world's key thinkers and activists on systemic change. Amid the failure of traditional politics and policies (...) to address our fundamental challenges, an increasing number of thoughtful proposals and real-world models suggest new possibilities, this book convenes an essential conversation about the future we want. (shrink)

Pain, suffering and positive emotions in patients in vegetative state/unresponsive wakefulness syndrome (VS/uws) and minimally conscious states (MCS) pose clinical and ethical challenges. Clinically, we evaluate behavioural responses after painful stimulation and also emotionally-contingent behaviours (e.g., smiling). Using stimuli with emotional valence, neuroimaging and electrophysiology technologies can detect subclinical remnants of preserved capacities for pain which might influence decisions about treatment limitation. To date, no data exist as to how healthcare providers think about end-of-life options (e.g., withdrawal of artificial nutrition (...) and hydration) in the presence or absence of pain in non-communicative patients. Here, we aimed to better clarify this issue by re-analyzing previously published data on pain perception (Prog Brain Res 2009 177, 329–38) and end-of-life decisions (J Neurol 2010 258, 1058–65) in patients with disorders of consciousness. In a sample of 2259 European healthcare professionals we found that, for VS/uws more respondents agreed with treatment withdrawal when they considered that VS/uws patients did not feel pain (77%) as compared to those who thought VS/uws did feel pain (59%). This interaction was influenced by religiosity and professional background. For MCS, end-of-life attitudes were not influenced by opinions on pain perception. Within a contemporary ethical context we discuss (1) the evolving scientific understandings of pain perception and their relationship to existing clinical and ethical guidelines; (2) the discrepancies of attitudes within (and between) healthcare providers and their consequences for treatment approaches, and (3) the implicit but complex relationship between pain perception and attitudes toward life-sustaining treatments. (shrink)