t. 1. Introduction générale, témoignages, discours aus Corinthiens, sur la fortune.

A study of the shaping of the blocks of the temple of Aphrodite necessitates a revision of the question of the geometrie definition of the so-called "Nabatean" capitals and an examination of their possible links with the contemporay models with acanthus leaves. Experimental archaeology applied to the carving of a stone example on a quarter scale makes it possible to put forward concrete and confident suggestions in this matter. It can be shown that, starting with a capital of this type, (...) it is possible to continue shaping it so as to produce a model with acanthus leaves, but the production of the latter does not involve the same geometrie precision in its roughly hewn phase. The first from the start is conceived and carved to be presented definitively in this state, while the dressing of the second is generally too rough and imprecise for it to be later transformed into a capital of Nabatean type. The experiment has also made it possible to define clearly the different practical stages in the carving of this member. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Sidonius Apollinaris and the Fall of Rome, A.D. 407–485F. E. RomerJill Harries. Sidonius Apollinaris and the Fall of Rome, A.D. 407–485. Oxford: Clarendon Press, 1994. xiv + 292 pp.“It is a truth almost universally acknowledged that the Roman Empire in the West collapsed without a sound in the fifth century, but that nobody understood that the catastrophe had occurred before Byzantine chroniclers woke up belatedly to the fact (...) in the sixth century.” Thus, Jill Harries sets out to prove that the Roman Empire was not a tree in the forest with no one to hear its fall, but that the aristocratic Sidonius Apollinaris heard it. Conversely, Sidonius’ own ambitions, attitudes, and sense of compromise “illustrate the wider political failure [End Page 663] of Rome in Gaul” (v). From the beginning we see her characteristic method of synthesis and analysis, as she proceeds both topically and chronologically to map the history of Sidonius’ Gallic world against his life and his concerns.Like “the death of Socrates,” however, “the fall of Rome” means different things. Harries defines the Roman Empire “purely in terms of a status system based on the ‘gradus dignitatum’ available to the aristocracy and [on] expertise in classical literature” (17). This definition is based on “the single most significant remark made by any contemporary western author on the end of Roman rule: ‘with the removal of the ranks of office, the only means by which the best men can be distinguished from their inferiors, hereafter the only mark of nobility will be knowledge of letters’” (16–17, translating Sid., Ep. 8.2.2). The view here is distinctly from Gaul, and mainly from Clermont: “Rome” is only an idea. Harries avoids the pitfall of writing a history of fifth-century Gaul as a whole, while also avoiding anachronism by adopting Sidonius’ viewpoint. This “fall” is, of course, a process, momentous but not instantaneous. We get a glimpse of a theoretical moment only, for the same process—with or without local awareness—repeated itself all over Gaul and the Western empire.The other terms in the title need clarification, too. The period A.D. 407–485 includes Sidonius’ lifetime (431[432?]-ca. 485) and ends, roughly, at his death, but it begins a generation earlier, the day after tens of thousands of non-Roman peoples crossed the Rhine into the empire on 31 December 406. There is an air of inevitability at first: the Rhine crossing, the political fragmentation of Gaul and Spain, dissensions between Romans and various Gothic leaders, the sack of Rome in 410, and the imposition of the Gothic emperor Attalus, “all had combined to undermine the credibility of Roman rule, and of Roman law, in the West” (66). The eleven chapters proceed chronologically, each weaving in the author’s main themes: the expanding effects of the Gothic arrival, the Gallic experience of Rome’s fall, and Sidonius’ perception of it.Even Sidonius requires definition, since he eludes us in his writings and is, often, an intellectual poseur, wrapped in the literary classicism of his age and social class: “his art mirrored life, but it could also distort it” (11). When he describes his beloved villa Avitacum, for example, we cannot tell what is real or unreal, so much does he echo the younger Pliny’s language. Then, in the 470s, Sidonius stopped classicizing and adopted a simpler, more preacherly style; yet, in the 480s, he changed back as a consolation for the fall of Rome. For these reasons, and because the often hard-to-read Sidonius has not yet found his literary expositor, Harries’ Introduction guides the historian to “what may be termed the political aspects of his technique” (3).The book’s argument is divided into two sections. Part I, “Lyon and Rome,” begins with the family history of the Apollinares and the Aviti, and ends with Sidonius in the urban prefecture at Rome, a scantily attested period, about which Harries writes provocatively. Herein are five chapters discussing (a) Sidonius [End Page 664] at Lyon and Arles, A.D. 430–455, (b) Avitus and the Goths, (c) Majorian, (d) Sidonius as Christian layman, A.D. 461–467... (shrink)

Dans le cadre de ce numéro thématique de Clio, nous avons recueilli les propos de Laure Ledoux, artiste et photographe. Née en 1986, elle vit et travaille à Paris. Après avoir étudié à l’école supérieure d’art et céramique de Tarbes, elle est diplômée de l’École européenne supérieure de l’image de Poitiers en 2008 et de l’École nationale supérieure de la photographie d’Arles en 2012. Ses travaux ont été présentés lors d’expositions dans des galeries, musées et centres d’art, mais aussi édité...

Anne Pasquier | : Le sermon Dolbeau 26 provient d’un manuscrit datant de la deuxième moitié du xve siècle qui sortit de l’oubli grâce à la publication, en 1990, d’un catalogue de manuscrits de la Stadtbibliothek de Mayence. Découvert par François Dolbeau, ce sermonnaire contient 63 sermons d’Augustin et un de Césaire d’Arles. L’intérêt pour ces oeuvres est d’autant plus grand que plusieurs des sermons sont partiellement ou complètement inédits. C’est le cas du sermon D. 26 en lequel s’élaborent plusieurs (...) réflexions qu’Augustin exprimera par la suite dans la Cité de Dieu. Dans le cadre de cet article, seront examinés les thèmes et les enjeux identitaires que l’on peut déceler en particulier dans les chapitres 1 à 9 de ce sermon. | : The sermon called Dolbeau 26 is part of a manuscript dating from the second half of the 15th century which came out of oblivion thanks to the publication, in 1990, of a catalogue of manuscripts in the Stadtbibliothek Mainz. Discovered by François Dolbeau, this manuscript contains 62 different sermons from Augustine, and one from Caesarius of Arles. The fact that 26 of those sermons from Augustine are partially or completely unknown explains their great interest. This is the case of the sermon D. 26 in which Augustine develops many reflections that will be later expressed in the City of God. In the context of this article, will be examined the identity issues that can be detected particularly in chapters 1-9 of this sermon. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Good HopeCarla Liesching Click for larger view View full resolution[End Page 111]Carla Liesching is an interdisciplinary artist working across photography, writing, collage, sculpture, bookmaking, and design. Grounded in experiences growing up in apartheid South Africa, she considers the intersections of representation, knowledge, and power, with a focus on colonial histories and enduring constructions of race and geography. Carla's ongoing project, Good Hope, was published by MACK in (...) 2021, and was shortlisted for the 2022 Aperture Paris Photo First Book Award, and the Arles 2022 Prix du Livre in the Photo-Text Category. An excerpt from Good Hope is also featured in On Whiteness, by SPBH Editions. Carla was a 2021 winner of the Open Walls Arles competition presented by The British Journal of Photography and exhibited work during Rencontres d'Arles Festival in 2021 and 2022. She is a 2021 Light Work Grant recipient and the 2022 recipient of the Silver Eye Fellowship, culminating in a photo-sculptural installation at Silver Eye Center for Photography in Pittsburgh. Carla was recently named a Foam Talent, with exhibitions at Foam Museum in Amsterdam, the Deutsche Börse Foundation in Frankfurt, along with a solo exhibition of Good Hope through PhMuseum in Bologna. Carla lives between South Africa and Ithaca. In Ithaca, she works as Visiting Critic in Cornell University's Art Architecture and Planning Department; as Lecturer in the Art, Art History and Architecture Department at Ithaca College; as faculty at the International Center of Photography; and as coordinator of the School of Criticism and Theory at Cornell. As part of her socially engaged practice, Carla is also a youth educator focused on image-making, visual literacy, and self-publishing as vehicles for expression and empowerment. [End Page 112] Click for larger view View full resolution'As soon as you are in a proper stage of defence you shall search for the best place for gardens, the best and fattest ground in which everything planted or sown will thrive.' Click for larger view View full resolution—Instructions from the Dutch East India Company inscribed on a yellowing sheet of parchment, 1651.1[End Page 113] Click for larger view View full resolution Click for larger view View full resolution[End Page 114]iYes, there are facts and figures to account for, timelines to trace, but have I told you of today's newspapers? Headlines like: 'Land Justice', 'Expropriation without Compensation', 'Revolution or Reform?' Have I told you of the monuments removed in the 'riots'? Or the groundsmen in green overalls scrubbing graffiti, repairing broken fountains, collecting debris? Black men White bosses still call 'boys'? Have I told you of the doves cooing gently, perched atop the sleeping bodies of migrant families on the lawns? Have I told you of the White children from the Cape of Good Hope Seminary dressed in their afternoon 'civilian clothes'? Or of the more racially integrated group from Mseki High in their grey-and-turquoise uniforms surrounding me on the main steps leading to the garden? The cacophony of lunch-time chatter, chip packets crinkling, the flap-flap of wings as seagulls scavenge for tasty morsels? Have I told you of the signs pointing to the Scientific Pleasure Garden? Or of the gift store filled with locally sourced flower oils, handmade candles, Delft-blue china tea-sets and postcards depicting the early colony? And what of Cecil John Rhodes cast in greening bronze, flanked by a Madagascar Cycad and a Queen Palm, announcing: Your Hinterland is There? Have I told you of the small rock in the corner of the vegetable garden with a label hidden beneath weeds? The arrival of the Dutch to establish a refreshment station, providing fresh produce for the ships plying the spice route, marked the end of a free and independent existence for the native Gorinhaiqua Khoikhoi. And what of the large label at the stone-walled entrance? A story of how a garden in 1654 brought together continents and affected the course of history. A story of how plants in the form of pepper, nutmeg, cloves and cinnamon changed the world economy. Have I told you the garden is the cause of it all? [End... (shrink)

Cette poupée est née le 25 décembre 1999 à Meynes. Elle est offerte par leur marraine [sic] la xviie reine d’Arles, Aurore Guibaud, et Mme Moreau Marie-José pour le passage au xxie siècle à la ville d’Arles. Bouen tous temps. Bonheur et prospérité sans fin. Souhait de bonne amitié que les anciens provençaux [sic], nos bons aïeuls, s’adressaient réciproquement en se visitant dans les grandes solennités de l’année, et dans certaines rencontres de réjouissance publique ou particulière. Aurore x...

« J'allai à la fenêtre et regardai dans la rue, où restait un groupe de trois personnes qui battaient la semelle dans le froid. Une quatrième était à la porte, une fille sans âge en fourrure mouillée avachie, qui s'efforçait de regagner le royaume de la contingence à coups de clignements d'yeux. » [Don Delillo, Great Jones Street (1973), Arles, Actes Sud, 2011, p. 22] ThéoRèmes n'entend pas suivre les modes mais se veut une revue résolument contemporaine. Si le réalisme (...) spéculatif est parfois... (shrink)

Il y a la mémoire, au féminin, personnelle ou collective, et les mémoires, masculin pluriel, livrés par un personnage, célèbre ou inconnu. Entre les deux quels rapports? Les seconds se nourrissent de la première... mais l'arrangent à leur façon. L'authenticité de la mémoire est altérée par l'oubli, alors que, pour sa part, le mémorialiste peut enjoliver à sa guise. Mémoire vraie contre mémoires faux? Pour en juger, cet essai prélude par un récit personnel dans lequel l'auteur tente de restituer une (...) vérité sur ce qu'a représenté dans sa vie l'empreinte des guerres qu'il a traversées. En contrepoint, il interroge à partir d'un cas exceptionnel les "vrais faux" mémoires de Fouché, la partie adverse. Suit la mémoire bien menacée de la Révolution française, enchaînant sur celle des villes, Aix ou Arles, ou la fortune historique d'un opéra de Mozart, pour finir ou presque sur le rapport de la mémoire à la mort en passant par l'oubli, mais pourquoi pas aussi à l'amour? (shrink)

Prior studies provide consistent evidence of deficits for psychopaths in processing verbal emotional material but are inconsistent regarding nonverbal emotional material. To examine whether psychopaths exhibit general versus specific deficits in nonverbal emotional processing, 34 psychopaths and 33 nonpsychopaths identified with Hare's (R. D. Hare, 1991) Psychopathy Checklist-Revised were asked to complete a facial affect recognition test. Slides of prototypic facial expressions were presented. Three hypotheses regarding hemispheric lateralization anomalies in psychopaths were also tested (right-hemisphere dysfunction, reduced lateralization, and reversed (...) lateralization). Psychopaths were less accurate than nonpsychopaths at classifying facial affect under conditions promoting reliance on right-hemisphere resources and displayed a specific deficit in classifying disgust. These findings demonstrate that psychopaths exhibit specific deficits in nonverbal emotional processing. (shrink)

Not In Sisterhood investigates an important transitional moment in the history of U.S. women's writing : the uneasy shift from the 19th-century model of the "lady author" to some new but undefined alternative. The careers of Edith Wharton and Willa Cather, together with that of their friend and peer Zona Gale, the first woman to win the Pulitzer Prize for drama, reveal several different strategies for negotiating this unknown terrain. While Gale made her feminist politics an integral part of her (...) successful novels and plays, Wharton and Cather publicly denied any interest in gender issues or social reforms. Not in Sisterhood shows how the complex intersections of literary and social politics that shaped the world of Wharton, Cather, and Gale are still at work in today's feminist reconstructions of literary history. (shrink)

Pour un arbitrage entre la théorie cognitive de l’esprit et la phénoménologie de l’intersubjectivité la technologie simule une situation de croisement perceptif dans un espace virtuel, où la reconnaissance par un agent de la présence d’un autre repose uniquement sur l’interaction comportementale. À la justification de Merleau-Ponty et Varela quant au caractère non représentationnel ni inférentiel de la reconnaissance d’autrui, en dissociant celle-ci d’avec une détermination spatiale, on ajoutera un analogon technologique de l’expérience du « visage » comme halo de (...) présence non objectivable, d’après Levinas. (shrink)

Un classico della teoria del diritto naturale e dell'etica, questo libro di Luigi Taparelli d'Azeglio è un'opera importante per gli studenti di filosofia e di diritto. Il libro offre una visione critica del diritto naturale e una difesa dell'etica della volontà, che Taparelli considerava una base per il progresso umano. Il libro non è solo un importante lavoro di filosofia, ma anche un saggio politico e sociale che offre una visione innovativa della legge e dell'etica. 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)