La neurothéologie est une nouvelle science interdisciplinaire émergente. Issue des progrès des neurosciences, elle s’intéresse au cerveau spirituel et religieux. Les travaux d’imagerie cérébrale et de neurobiologie sur lesquels elle s’appuie n’excluent en rien le dialogue avec les sciences humaines. Elle permet une distinction entre spiritualité et religion, la spiritualité apparaissant comme un besoin naturel et universel, alors que les religions sont vues comme une réponse culturelle à ce besoin naturel. Le dialogue entre la foi et la science se déploie (...) alors sous un jour nouveau, loin des clivages habituels. La neurothéologie n’est pas plus religieuse qu’irréligieuse, elle ouvre de nouvelles perspectives pour la modernité et la mondialisation. Le présent article part des prémisses acquises en addictologie, où une démarche interdisciplinaire a apporté des progrès sensibles dans le traitement des addictions. Les neurosciences de la spiritualité offrent ainsi une opportunité pour un débat entre médecine, philosophie et théologie. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Looking Beyond Neoliberalism: French and Fran-cophone Belgian Cinema and the Crisis by Martin O’ShaughnessyJoseph MaiO’Shaughnessy, Martin. Looking Beyond Neoliberalism: French and Fran-cophone Belgian Cinema and the Crisis. Edinburgh University Press, 2022. 224pp.Martin O’Shaughnessy has devoted a career to scouring the intersections of politics, identity, and contemporary French cinema, perhaps most notably in his 2007 book, The New Face of Political Filmmaking. In a review in Cineaste, Jonathan Buchsbaum (...) called that book “theoretically sophisticated” and a “powerful and eloquent polemic for retaining a class analysis of film” (90). According to Buchsbaum, The New Face asked “the central question of how films can formulate political critiques after the collapse of the grand leftist narrative(s) of the twentieth century” (89). O’Shaughnessy’s new book, Looking Beyond Neoliberalism: French and Francophone Belgian Cinema and the Crisis, is a major publication with similar qualities of theoretical breadth, and is also once again inspired by cinematic attempts to envision different political futures.Things have not gotten better since 2007. The “crisis” of O’Shaughnessy’s title does not refer narrowly to the financial meltdown of 2007–2008 and subsequent government-funded bailouts. Crisis is not an event requiring austerity (disguised as “courageous decision-making”), but in many senses the essence of global neoliberalism, or as the frequently cited Maurizio Lazzarato puts it: “the form of government of contemporary capitalism” (qtd. in O’Shaughnessy 5). The 2008 crisis has, if anything, made this form of government ever more visible, and ever more punitive and essential to Western industrial societies. With a mastery of the philosophical critique of neoliberalism, O’Shaughnessy unpacks how the logic of crisis habituates the subject to self-entrepreneurship, debt, social and political isolation, conformism, precarity, social violence, and nihilism.The book looks at these issues through cinematic works by French and Belgian Francophone filmmakers, ranging from popular auteurs like Jacques Audiard and Luc Besson to more critically political filmmakers like the Dardenne brothers or Laurent Cantet. O’Shaughnessy is not looking only for thematic representations; he also seeks new answers in films that respond to, flee, or resist neoliberalism. Like the Occupy or Nuit Debout movements, much of this cinema seeks to reformulate identifications and cultivate political resistance, though O’Shaughnessy warns us early on [End Page 117] that we are not in a place “where there is a cohesive political cinema” (9). There is, therefore, a refreshingly normative concern throughout the book: the most valuable films seek paths toward social encounter, re-assemblage of identity categories, lives that are not defined through debt, and a future in which crisis and precarity do not structure action.The first three chapters focus on the “crisis of the neoliberal subject” (6). Chapter 1 approaches the work of Jacques Audiard, who has at times been read as reinforcing regressive gender roles and at other times embracing a rather more disruptive masculinity. Bringing the lens of the neoliberal subject to bear on films like Un prophète (2009) or Un héros très discret (1996), O’Shaughnessy emphasizes Audiard’s use of crime-genre filmmaking as a parallel to capitalism, and the genre hero as a corollary to the bourgeois entrepreneurial male subjectivity it fosters and puts into crisis. Desperately, Audiard’s masculine subjects rehearse, recreate, and “perfect” themselves, initiate profitable collaboration, self-define through flexibility, improvisation, and competence, in ways that are hallmarks of, but do not surpass, an internalized neoliberal subjectivity.Chapter 2 examines how the mechanisms of debt influence characters’ beliefs and actions. What does it mean, in works by the Dardenne brothers, Laurent Cantet, and Mia Hansen-Løve, to be “man in debt” (54)? O’Shaughnessy explores debt’s temporality as it limits the possibilities of the future by tying actions to the obligations of repayment. In Le silence de Lorna (2010), Lorna is enrolled in a logic of indebtedness in exchange for papers to cross borders, at the expense of another human, Claudy. Caught in an “overarching tension between systemic violence and an ethical commitment to the Other” (45), she seeks a way out in increasingly irrational attempts to escape. Vincent, the protagonist of L’emploi du temps... (shrink)

Research and practice of Voluntary Earnings Disclosure (VED) as a strategy are limited, notwithstanding its evidenced contribution to firm value. An emerging VED profile is identified, characterised and evaluated. Firms applying it regularly provide VED between quarterly earnings announcements. This profile is compared with the prevailing approach of issuing VED when warranted by events and/or when serving firm or management ad hoc interests. These firms' VEDs are found to be more regular, frequent, timely, and often with confirming content. Their VED (...) events, usually midquarter updates, are often prescheduled and specifically named using period-related terms. These controllable characteristics qualify it as a strategy, termed 'Period-Driven VED', in distinction from 'Event-Driven VED'. The period-driven VED strategy is found to improve a firm's information environment through a reduced information gap, measured by abnormal stock returns, lower analysts' forecast error and dispersion, and fewer surprises around earnings-release dates. The firm's improved information environment leads to lower cost of capital, as evidenced by prior theoretical and empirical research, enhancing firm value. (shrink)

Theoretical minimal RNA rings attempt to mimick life’s primitive RNAs. At most 25 22-nucleotide-long RNA rings code once for each biotic amino acid, a start and a stop codon and form a stem-loop hairpin, resembling consensus tRNAs. We calculated, for each RNA ring’s 22 potential splicing positions, similarities of predicted secondary structures with tRNA vs. rRNA secondary structures. Assuming rRNAs partly derived from tRNA accretions, we predict positive associations between relative secondary structure similarities with rRNAs over tRNAs and genetic code (...) integration orders of RNA ring anticodon cognate amino acids. Analyses consider for each secondary structure all nucleotide triplets as potential anticodon. Anticodons for ancient, chemically inert cognate amino acids are most frequent in the 25 RNA rings. For RNA rings with primordial cognate amino acids according to tRNA-homology-derived anticodons, tRNA-homology and coding sequences coincide, these are separate for predicted cognate amino acids that presumably integrated late the genetic code. RNA ring secondary structure similarity with rRNA over tRNA secondary structures associates best with genetic code integration orders of anticodon cognate amino acids when assuming split anticodons (one and two nucleotides at the spliced RNA ring 5′ and 3′ extremities, respectively), and at predicted anticodon location in the spliced RNA ring’s midst. Results confirm RNA ring homologies with tRNAs and CDs, ancestral status of tRNA half genes split at anticodons, the tRNA-rRNA axis of RNA evolution, and that single theoretical minimal RNA rings potentially produce near-complete proto-tRNA sets. Hence genetic code pre-existence determines 25 short circular gene- and tRNA-like RNAs. Accounting for each potential splicing position, each RNA ring potentially translates most amino acids, realistically mimicks evolution of the tRNA-rRNA translation machinery. These RNA rings ‘of creation’ remind the uroboros’ (snake biting its tail) symbolism for creative regeneration. (shrink)

At once photographic analysis, philosophical essay, and autobiographical narrative, Athens, Still Remains presents an original theory of photography and throws a fascinating light on Derrida's life and work.The book begins with a sort of ...

Dans À la recherche du temps perdu, Proust est, en réalité, à la recherche de son identité, de son moi profond et véritable. Pour ce faire, il s'isole du présent dans le but de se retrouver dans le passé. Cependant, la « résurrection du passé », qui doit lui apporter le salut éperdument recherché, n'est pas le produit de la mémoire volontaire. Cette forme de mémoire, fonction de l'évocation objective et « quasi-dépersonnalisée », n'a pas, au dire de Proust, le (...) don de nous représenter le passé dans sa plénitude totale. Dès lors, elle ne saurait le conduire au moi profond, dont elle ne pourrait lui donner qu'une image factice et tronquée. En revanche, la mémoire authentique, selon Proust, est la mémoire involontaire, qui est liée à l'actualité de notre vie par la plus mystérieuse des intimités. Et même, à l'en croire, cette mémoire aurait une fonction méta- physique précise, qui serait de nous révéler notre moi profond, de faire émerger, à la surface de la monotonie de notre présent, notre « essence ». C'est que, pour Proust, le souvenir involontaire n'est pas, en réalité, quelque chose qu'on a, mais bien quelque chose qu'on est. Son rôle n'est pas seulement de fixer des événements écoulés, mais de nous exprimer nous-même, d'affirmer, par delà la multiplicité de nos moi changeants et superficiels, l'identité et la permanence d'un moi authentique et profond.In Remembrance of Things Past , Proust is actually searching for his own identity, his innermost, true self. In order to do this, he isolates himself from the present, with the aim of finding himself in the past. However, the "resurrection of the past", which ought to bring him the salvation so desperately sought, is not the product of voluntary memory. This form of memory, function of the ob- jective, "quasi-depersonalized" evocation, does not have the capability of presenting the past to us again in its totality. Consequently, it could not lead him to the innermost self, of which it could give him only a factitious and truncated image. On the other hand, the authentic memory is the involuntary memory, which is linked to the reality of our life by the most mysterious connections. This memory, according to Proust, would even have a precise metaphysical function, which would be to reveal to us our innermost self, to make our "essence" emerge at the surface of the monotony of our present. This means that the involuntary remembrance is not, in reality, something that one has, but rather something that one is. Its role is not only to set events in time, but to explain ourself to us, to affirm, over and above the multiplicity of our changing and superficial selves, the identity and permanence of an au- thentic, innermost self. (shrink)

The genetic code has evolved from its initial non-degenerate wobble version until reaching its present state of degeneracy. By using the stereochemical hypothesis, we revisit the problem of codon assignations to the synonymy classes of amino-acids. We obtain these classes with a simple classifier based on physico-chemical properties of nucleic bases, like hydrophobicity and molecular weight. Then we propose simple RNA ring structures that present, overlap included, one and only one codon by synonymy class as solutions of a combinatory variational (...) problem. We compare these solutions to sequences of present RNAs considered as relics, with a high interspecific invariance, like invariant parts of tRNAs and micro-RNAs. We conclude by emphasizing some optimal properties of the genetic code. (shrink)

The time is past when “myth” could be considered serenely, when μvθoς could be translated as “legend,” or when Littré could define it as follows: “A story pertaining to time or facts that history does not clarify and embracing either a real fact transformed into a religious notion or the invention of a fact with the help of an idea.” It was calmly asserted that the myth concerned formal divinities, that it was the means of expressing the relationship between these (...) divinities and men—hence the historical form it most frequently assumed. But, in any case, it was a matter of the past. The gods were indeed dead, and the stories regarding them no longer concerned us. The nineteenth century, the century of reason, was devoid of myths, and only the “poets” (falsifiers!) regretted this. But along came the psychology of the unconscious, then sociology and history, to give a fresh meaning, and thereby vigor, to these dusty tales incorporated in Greco-Latin mythology. No longer were they a childish invention to lend color to a naïve religion. We perceived instead subtle expressions of the profound and complicated tendencies of man, and the divinities involved in these myths were no longer the simple gods of thunder and of time. Complex characteristics enriched their personalities. They assumed unprecedented dimensions. Cronus and Zeus were cloaked in mystery—the mystery of man. And by a strange reversal, what seemed childish then was not the imaginary myth but the rationalist philosophy that had contested it because of its failure to understand. (shrink)

A collection of ten previously published or delivered essays by Taminiaux (philosophy, Boston College and the Universite de Louvain).

"The cinema is, as a photographic medium, an art form of light. But the mastery of lightning and the 'dark' side of his rhizomatic, interactive net have led very early to the configuration of shade and shadow and refer, ergo, to something which is perpetually related to all forms of figurative art. To film, 'night' means, however, something different, as it brings the configuration of the skies in a state of darkness with it. This is in disagreement with his usual (...) depiction. It entails embarking on a singular figurative project, which approximates a contradiction in itself. This project demonstrates the autonomy of the configuration process precisely through this contradiction.". (shrink)

"L'esprit d'aventure animait-il Pierre Teilhard de Chardin? Il ne suffit pas, pour répondre, de rappeler la devise que lui applique l'un de ses amis, George Barbour : "Ut migraturus habita. Vis comme si tu allais partir." Il ne suffit pas non plus de trouver sous sa plume ce bel aveu : "Je ne saurais désormais être autre chose qu'une sorte d'aventurier spirituel." Il faut le suivre dans ses multiples voyages, lire son abondante correspondance, l'entendre se plaindre d'être retenu à Pékin (...) durant la Seconde Guerre mondiale sans aucun terrain d'action, ou encore douter que la Croisière Jaune puisse lui être utile. Il faut aussi l'écouter se plaindre que le christianisme a perdu l'esprit d'aventure et le voir s'engager lui-même dans les zones laissées en blanc, celles où le savoir comme le croire perdent pied et où le réel reprend tout son pouvoir. Une invitation à mettre les pas dans ceux de ce gentilhomme aux semelles de vent."--Page 4 of cover. (shrink)

This article argues for the gestural origins of speech and language based on the available evidence gathered in humans and nonhuman primates and especially from ape studies. The strong link between motor functions and speech in humans is reviewed. The presence of asymmetrical cerebral organization in nonhuman primates along with functional asymmetries in the perception and production of vocalizations and in intentional referential gestural communication is then emphasized. The nature of primate communicatory systems is presented, and the similarities and differences (...) between these systems and human speech are discussed. It is argued that recent findings concerning neuroanatomical asymmetries in the chimpanzee brain and the existence of both mirror neurons and lateralized use of hands and vocalizations in communication necessitate a reconsideration of the phylogenic emergence of the cerebral and behavioral prerequisites for human speech. (shrink)

In the history of Christian thought, St Bonaventure stands out as the pre-eminent Franciscan philosopher of the 13th century and as a key figure in the development of the spiritual theology of the Church. The four studies which constitute this volume present detailed investigations into some of the principal sources from which Bonaventure drew his inspiration, from Antiquity through to St Bernard in the century before his own. Proceeding from a careful analysis of the quotations he makes from these sources, (...) the studies make clear the precise extent and nature of their importance in Bonaventure¿s own thought, and the manner in which he selected ideas and used them to serve his own purposes. The first two pieces focus on the influence exerted by the Pseudo-Dionysius, in particular as concerns his notion of hierarchy; this became a central and fertile theme in the work of the Franciscan. Father Bougerol shows how Bonaventure interpreted and developed it, in the process transforming it into a meditation on the relationship between man and God. This emphasis also emerges in the third study, on his attitude towards Aristotle, which demonstrates Bonaventure¿s deliberate progress towards the elaboration of his spiritual theology. (shrink)

Many skills are required for research and many virtues too: patience, humility, audacity, prudence… But I would like to illustrate a very important dimension of our activity: friendship. Actually, our session at the International Congress of Medieval Studies in Kalamazoo, with Sean Field and Timothy Johnson, under Wayne Hellmann’s chairmanship, is exactly the illustration of what I want to say.1On September 15, 2014, I received an email from Sean Field, in which he told me about a manuscript on sale on (...) Sandra Hindman’s site, Les Enluminures. In the excellent description on line by Laura Light, I was immediately attracted by the mention “THOMAS OF CELANO, Vita et miracula sancti Francisci”: “The opening sections... (shrink)

Pourquoi les oiseaux chantent-ils, le paon se pavane-t-il? Pourquoi le lion ou le tigre ont-ils une livrée aussi somptueuse? Mais aussi : pourquoi édifie-t-on des monuments sur les places publiques de nos villes? Pourquoi les hommes ressentaient-ils jadis le besoin de s'exhiber en uniformes rutilants sur les champs de bataille? Pourquoi les objets d'usage courant ont-ils le plus souvent été ornementés? Bref, pourquoi cet étalage de formes? A ces questions, on répond le plus souvent par diverses explications utilitaires et fonctionnelles (...) : la vie animale comme la vie humaine seraient régies en dernière instance par l'exigence de la survie et de la conservation. Or un examen sans préjugés montre que le principe d'utilité n'a qu'une validité limitée. Pour des fins purement utilitaires, des moyens réduits auraient largement suffi. Il est donc nécessaire, par fidélité au réel, d'élaborer un horizon élargi où ces laissés-pour-compte éclatants puissent devenir intelligibles sans cesser d'être partiellement énigmatiques. Et s'il y avait, chez l'homme comme dans la vie animale et végétale, une tendance à manifester ce que l'on est, à paraître au lieu de simplement être? La réflexion sur l'apparaître menée dans cet ouvrage a une analogie profonde avec celle qui s'interroge sur le cycle du donner-recevoir-rendre. Car l'une comme l'autre montrent que les formes sociales comme les formes naturelles, comportent une dimension de gratuité et de contingence qui excède tout principe de nécessité et d'utilité. Même si l'on peut s'apercevoir ensuite qu'il existe quelque chose comme une utilité de l'inutile. (shrink)