Rips et al.'s proposition cannot account for the facts that (1) a historical look at the word number systems suggests that the concept of natural numbers has been progressively elaborated; (2) people from cultures without an elaborate counting system do not master the concept of natural numbers; (3) children take time to master natural numbers; and (4) the competing advantage of the postulated math schema in the natural selection process is not obvious.

L'hymne est, par excellence, le genre litteraire par lequel s'est operee la fusion entre christianisme et hellenisme, et d'ou paganisme et monotheisme se cotoient. Il revenait a Synesios de Cyrene, ce chretien platonisant, de participer a cette synthese: ne dans l'antique colonie grecque de Cyrene aux alentours de 370, il recoit tout d'abord une culture classique, selon le gout de l'epoque, avant de se tourner, sans pour autant renier l'hellenisme et la philosophie, vers le christianisme. A l'heure ou le monotheisme (...) commence a supplanter le polytheisme, ou Byzance prend le pas sur Rome, Synesios tente de creer un lien entre les deux traditions, notamment par le biais de son action politique, comme l'ambassade a Constantinople. La presente edition regroupe en un volume, les 9 hymnes de Synesios auxquels est ajoute l'hymne 10, sans doute apocryphe. La longue introduction presente la periode historique, riche, complexe, et trop peu connue, ainsi que l'auteur. Une notice generale fait le point sur le texte lui-meme, le genre de l'hymne et la tradition manuscrite. Chaque hymne est en outre precede d'une breve notice analysant la composition, la metrique et proposant de judicieuses pistes de lecture. Des notes accompagnent le texte et sont developpees, en fin d'ouvrage, par des notes complementaires. Le livre est encore enrichi par un Index verborum. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Basic Theatrical Understanding: Considerations for James HamiltonNoël Carroll (bio)The publication of The Art of Theater by James Hamilton is a seminal event in the philosophy of theater.1 As the first book-length study of theater in the analytic tradition of philosophy, it will be a touchstone for many years of future discussion and debate. Anyone interested in the philosophy of theater will need to address Professor Hamilton’s accomplishment.The leading idea (...) in The Art of Theater is that theatrical performance is an independent art form. That is, theatrical performance, as such, is not, as Aristotle suggested by his demotion of spectacle, a mere adjunct to literature, or essentially a medium for illustrating dramatic and comedic texts. Theatrical performance itself is an art in its own right. This view of theater art has been increasingly apparent in the practices of modern theater in the West, but these practices—as exemplified by Gordon Craig, Vsevolod Meyerhold, Jacques Copeau, Bertolt Brecht, Antonin Artaud, Jerzy Grotowski, and, more recently, Robert Wilson—merely revealed what has always been the case: that theater is at root a performing art.Although for centuries theater in the West had been conceptualized as a text-based art, Hamilton maintains that this tradition is local. Theatrical performances in other cultures need not be the enactment of antecedently written-out texts. Furthermore, even within Western culture, most of us see and discuss plays without ever reading the texts upon which they are based. Hamilton takes these facts to support his view that theatrical performance is an autonomous art form. Among other things, this means that the critical model that presumes that the success of a theatrical performance must be assessed against the effectiveness of its implementation of the pertinent preexisting literary text is a misguided one. Although a preexisting literary text may be an ingredient in the production of a theatrical performance, fidelity to the aforesaid text is not mandated by the art of theater. [End Page 15]Insofar as theatrical performance is an art in its own right, it may—and quite clearly, as in the cases of the Performance Group, Kraken, Mabou Mines, etc., often does—adapt written texts for its own purposes. Moreover, refashioning the text, where there is one, is not simply an avant-garde practice; most productions edit the text for their own purposes. Kenneth Branagh’s Hamlet, which omitted no word from the accepted version of the text, was the exception to the rule. Thus, what Hamilton calls the ingredients model of the relation of texts to theatrical performances has the advantage on its side of better corresponding to actual practices, as compared to the notion that a theatrical performance is to be understood as a matter of bringing a literary text to life.Of course, one apparent advantage that the text-implementation model of theatrical performance might seem to possess is that it appears to have a way ready-to-hand for identifying theatrical performances. Gielgud’s performance, Olivier’s performance, and Burton’s performance are, ex hypothesi, all performances of Hamlet because they are all performances of Shakespeare’s text to which they all roughly comply. If, following Hamilton, we sever the relationship to the play-text, how can we account for the way in which we identify theatrical performances?2 That is, independently of reference to texts, how do we identify a theatrical performance as another instance of Hamlet?In order to solve this problem, Hamilton introduces the idea of “a basic understanding” of a theatrical performance. The basic understanding of a theatrical performance is, on Hamilton’s account, said to involve no more than comprehending on a moment-to-moment basis the ongoing bits of dialogue and stage action as they evolve, as well as understanding the transitions from one scene to another while also responding physically in a suitable manner to the evolving story (for example, laughing where laughter is appropriate) or emoting responsively to what is happening onstage. So, one has a basic understanding of a scene if, when the Musketeer says “On guard,” the spectator takes this to be an invitation to a duel; and when a rival character draws his sword, the... (shrink)

Dieu existe-t-il encore pour l'homme d'aujourd'hui? À cette question essentielle, parfois étouffée par le tintamarre des contestations quotidiennes, la mode est aujourd'hui de répondre par la négative. Au terme d'une vaste enquête, Jacques Duquesne, au contraire, n'hésite pas à donner une réponse positive. Alors que l'on clame la mort de Dieu, il montre que la faim d'un Dieu n'a jamais été aussi vive que dans notre monde tourmenté. Alors que l'on trace un portrait-robot de l'homme moderne animé seulement par (...) les froides impulsions de la raison, il décèle dans l'art, l'astrologie, mais aussi le phénomène hippie ou les événements de mai 1968, les mille signes d'un mouvement de re-sacralisation. Les trois-quarts des Français et des Allemands, la quasi-totalité des Américains affirment croire en Dieu. Mais en quel Dieu? Sortie de secours pour homme angoissé, divertissement pour homme programmé, père Noël barbu, rival malintentionné, grand architecte de l'univers, ou force lointaine et inconnue le Dieu des hommes d'aujourd'hui présente mille visages, archaïques ou modernes. Mais il est rarement le Dieu de Jésus-Christ même chez les chrétiens, dont la foi est en morceaux. Et à son sujet, les Églises, affairées aux problèmes de leur propre organisation, sont trop souvent silencieuses. Dans ces pages denses, vigoureuses et sereines, Jacques Duquesne brosse en une vaste fresque le panorama des croyances, des incroyances et des refus des hommes d'aujourd'hui : détruisant bien des idées reçues, son livre fera date. Collaborateur de l'Express, " Europe no 1 ", et Panorama aujourd'hui, Jacques Duquesne a déjà publié chez Grasset plusieurs livres : les Prêtres, les Catholiques sous l'Occupation, Demain une Église sans prêtres? qui ont eu un grand retentissement. (shrink)

In his article “Notes on the Sight Gag” from 1991, the philosopher Noël Carroll proposed a taxonomy of sight gags that recur throughout the genre of comedian comedy in cinema. This article revisits and augments Carroll’s taxonomy by analyzing the sight gags found in the films of Jacques Tati. Tati worked in a very different context than that of the silent Hollywood filmmakers from whose comic films Carroll largely derives his categories. He began making films in the sound (...) era, and five of his six feature films were made in color. As a French filmmaker, he also sought to adapt the genre of comedian comedy in cinema to his culturally specific concerns. This article shows that he drew on at least three of the types of sight gag identified by Carroll. But he modified some of them and innovated several other kinds. (shrink)

Dernier ouvrage en date de l'excellente série dirigée par Michel Marie de l'Université de Paris III, le livre de Noël Burch et de Geneviève Sellier marque à bien des égards un moment important dans la recherche sur le cinéma en France. Bien que le cinéma de cette période trouble et troublée de l'histoire contemporaine ait déjà été traitée par d'autres (voir Jacques Siclier et François Garçon par exemple), l'approche méthodologique adoptée par les auteurs renouvelle radicalement le disc..

After the emergence of the neo-Thomist movement in the early twentieth century, the question of how best to present Aquinas’s latent epistemological realism came to the fore. Léon Noël was an important contributor to this area of neo-Thomism, but his work has unfortunately been eclipsed by that of other more recognizable authors such as Etienne Gilson and Jacques Maritain. Noël argued that Aquinas’s realism is a form of immediate realism that recognizes the challenge of modern representationalist epistemologies (...) but does not succumb to non-realist ways of thinking. Hence Noël presented immediate realism as an epistemological position that is inspired by Aquinas but also capable of addressing philosophical concerns that emerged after his death. In this article I present Noël’s view as interesting in its own right and capable of engaging with contemporary non-Thomist trends in epistemology. (shrink)

Beaucoup de surprises attendent le lecteur de ce livre. D'abord celle de l'existence d'une alliance objective entre les deux géants du siècle passé, ayant pu aller jusqu'au pacte tacite, mais constamment renouvelé entre la psychanalyse et la philosophie, anti-hegélienne, bien sûr. Ensuite, celle de la connaissance approfondie des textes de Freud, dès les années 20-30, que pouvait avoir Bataille, et bien avant que Lacan ne s'en empreigne, si l'on veut bien prendre enfin en compte ses écrits du tome II de (...) ses Œuvres Complètes, publiés seulement en 1970. Mais surtout, il devient évident que ce savoir qui est à légitimer, car il est celui d'un analysant, a permis à un écrivain portant ce nom de mener un triple combat : celui, évidemment contre la pusillanimité des plumes surréalistes et toutes les positions qu'il qualifie d'icariennes au regard de l'indécence du sexe ; donc, par là même, l'ouverture d'un autre front : celui d'une réhabilitation de Sade, qui sera présenté dans ces pages comme l'ancêtre le plus direct de Freud, celui-ci offrant enfin à sa " valeur d'usage " une " valeur d'échange " ; enfin la prise en compte effective, non seulement des dangers, mais de la réelle fascination que peut exercer le fascisme sur l'esprit rendu mélanco-lique par tous les progrès d'une science qui évacue la dimension du sujet, le privant de toute attache à sa terre et son histoire. Après la mort du Roi et la mort de Dieu, l'oeuvre relue de Bataille offre ainsi l'occasion de devoir surtout se convaincre de la mort de l'Un. Il importera de bannir l'univocité du sens et d'affirmer la prise en compte, chaque fois que s'énonce un désir, de la contradiction qu'il abrite en son sein entre l'excrétion qu'il permet et la réappropriation qu'il réclame. (shrink)

Réflexion sur la philosophie et les lettres qui tente de répondre à la question : qu'est-ce que penser pour un homme dont l'expérience vécue est la source de l'écriture?

The freedom of the intellect.--The theory of the superman.--The intellect and the reign of the heart.--Christian humanism.--The theory of success.--The mathematical attenuation.--The myth of progress.--The myth of necessary progress.--The philosophy of revolution.--The progess of the spirit.--System of philosophic harmonies.--Notes (p. 189-200).

Pourquoi Ludwig Wittgenstein était-il fasciné par certaines œuvres du grand écrivain suisse Gottfried Keller? Cette question a intrigué Jacques Bouveresse et le fruit de cette interrogation a donné son ouvrage Le danseur et sa corde, Wittgenstein, Tolstoï, Nietzsche, Gottfried Keller et les difficultés de la foi (Marseille, Agone, 2014). Dans l’échange qui suit, organisé en mai 2017 par la section genevoise de la Société suisse de philosophie, Jacques Bouveresse et Ruedi Imbach se penchent sur le titre de cet (...) ouvrage, sur l’intention qui a présidé à sa rédaction, mais aussi sur la critique aiguë du christianisme institutionnel, surtout dans sa version doctrinale et doctrinaire, dans certaines œuvres de Keller, ainsi que sur le fort intérêt de Wittgenstein pour ces œuvres et pour cette critique. Les deux auteurs s’accordent pour dire que le christianisme ne s’enseigne pas : il est plutôt quelque chose qui relève de la vie. (shrink)

Is the reference to the Book of Job sufficient to explain why Hobbes gave the name ‘Leviathan’ to the state he advocated? Had he not been aware of how maligned this name had been for centuries: that it not only referred to a monster, but soon became synonymous with the devil himself? - The “long shadow” that, according to Carl Schmitt, the name ‘Leviathan’ alone had cast on Hobbes’s work from the very beginning was first cleared somewhat in 2007 by (...) Noel Malcolm’s reference to Jacques Boulduc’s Job- commentary of 1619/37. As far as the “extraneous influence” in question is concerned, however, reference could also be made to the Job-commentary of a certain Joseph Caryl of 1643, which in turn took away some of the scandalous connotation of the biblical Leviathan. The real key to Hobbes’s naming, however, may lie with Jean Bodin, with whom Hobbes shares everything that the name ‘Leviathan’ stands for in his political philosophy. (shrink)

The bulk of Bastiat’s scientific work is contained in Economic Harmonies, a work generally overlooked or underestimated. Thsi paper would contribute to its comprehensive rehabilitation by re-examining and reappraising Bastiat’s theory of value.Bastiat defined value as “the relationship existing between two services that have been exchanged.” He respected the principle of objective or intrinsic value, of materiality or durability, utility, scarcity. “Products” have no value if not traded, and the exchange is not between two products but two services mutually produced, (...) traded and subjectively compared by two persons. The origin of the value is the “effort”, which transforms the gifts of nature, and consists in providing services to others in return for services desired.Bastiat’s criticism of Smith and Say anticipated recent developments in contemporary economics. By stressing the importance of services rather that of products, he laid the groundwork for a new approach to consumer theory. By abandoning the reference to production and concentrating on exchange, he has been joined by some Austrian Economists.However, Bastiat in his eagerness to blunt the socialist criticism of private property, was on a wrong fast in making the prediction that the area of property and value will decrease with the progress in civilization, since the efforts will be smaller and smaller, and the action of Nature will play a larger and larger role. Errare humanum Le talent scientifique de Bastiat s’exprime et s’apprécie dans Les Harmonjes Economiques, oeuvre posthume et injustement méconnue.En 1850, sa théorie de la valeur est d’avant garde. Bastiat réfute les conceptions courantes à l’époque qui rattachent la valeur aux caractéristiques d’un produit, qu’elles soient le travail requis, ou l’utilité ou la rareté. Pour lui la valeur naît de la comparaison subjective entre services échangés par deux individus. “Les services s’échangent contre des services”. L’échange est luimême le résultat d’un “effort”, c’est-àdire d’une action humaine tendant à rapprocher besoins à satisfaire et moyens de les satisfaire. Ainsi Bastiat annonce-t-il à la fois les nouvelles approches de la rationalité du consommateur et la théorie de la création entrepreneuriale et de la subjectivité des Autrichiens.Bastiat a été moins heureux dans sa prospective : pour répondre aux socialistes révoltés par la propriété privée, il diagnostique que le progrès de la civilisation, grâce au génie de l’homme, nous conduira vers moins d’efforts et d’échanges, donc moins de propriété, et plus de dons gratuits offerts par la nature, plus de communauté. Il se jugeait lui-même : Errare humanum... (shrink)

In our recent article, "Where Does Cumulative Culture Begin? A Plea for a Sociologically Informed Perspective" we commented on a fundamental notion in current approaches to cultural evolution, the “zones of latent solutions”, and proposed a modification of it, namely a social and dynamic interpretation of the latent solutions which were originally introduced within an individualistic framework and as static, genetically fixed entities. This modification seemed, and still seems, relevant to us and, in particular, more adequate for coping with the (...) archaeological record. Bandini et al. rejected our proposition and deemed it unnecessary. In their critique, they focused on: our reservations about an individualistic approach; our objections to the presumption of fully naive individuals; and our demand for an extended consideration of forms of social learning simpler than emulation and imitation. We will briefly reply to their critique in order to clarify some misunderstandings. However, the criticisms also show that we are at an impasse on certain crucial topics, such as the meaning of ZLS and the scope and nature of culture in general. Thus, we consider it necessary to make an additional effort to identify the conceptual roots which are at the very basis of the dissent with Bandini et al. (shrink)

Originally titled Frontières de la poésie (1935), This book by Jacques Maritain, whose philosophical writings read as interestingly as a novel, will be welcomed by all who are seeking a better understanding of the art of our time. The book delves into Maritain's thoughts on the nature and subjectivity of art and poetry. As a philosopher, Maritain attempts to define the two concepts, describing art and poetry as "virtues," and as primarily concerned with beauty. Rather than focus on aesthetic (...) theory, Maritain examines the concepts at a more tangible level, including a discussion of how they are made. The principles established with such precision and brilliance in his earlier work "Art and Scholasticism," which has had such a deep influence on contemporary artists, are successfully put to the test in illuminating the creative works of such diverse artists as Rouault, Marc Chagall, Gino Sevirini, and Arthur Lourie. Jacques Maritain was a French Catholic philosopher and political thinker. He was born in Paris in 1882, where he spent most of his life. His father was a prominent lawyer and his mother the daughter of a statesman. He attended the Sorbonne to study philosophy and natural science, and after marrying, he and his wife converted to Catholicism. It was after this he became a well-known scholar of St. Thomas Aquinas and Thomistic philosophy. He published widely on philosophical and political thought, and by the 1930s, he was an established thinker in the Catholic community. After the outbreak of WWII, Maritain relocated to the United States, where he taught at Princeton University and Columbia University. Later in life, he and his wife returned to France, where he continued to write and study Catholic scholarship until his death in 1973. (shrink)

Ceci n’a rien d’un texte référencé, documenté par de multiples citations et connaissances littéraires ou mythologiques accumulées : ce n’est que l’expression de relations humaines, pathétiques ou tragiques dérivant au gré du besoin de l’enfant... à tout prix.Fabriquer une vie, transmettre un peu de soi – en duplication de deux unités – dépasse toutes les..

This book asks the question, how could we convince or compel modern business to apply ethical standards and is it essential to the success of economy? In order to answer the question, this book examines the evolution of the activist business ethics in business, in democracies, Christianity, Judaism, Islam, Buddhism, in philosophy, psychology and psychoanalysis. The book examines international aspects, the personification of stakeholders, the predominance of values and ethics for CEOs and the inefficient safeguards of the stakeholders’ interests.

A group of essays prepared for publication by Maritain in the year before his death. The first series of articles consists of 10 philosophical essays, while second is made up of mainly theological articles. A meditation closes the volume.

JEAN-PIERRE CLERO, LYNDA LOTTE. — Lacan est mort il y a un peu plus de vingt ans, en 1981 ; il semble que sa présence, pour ne pas dire son règne, n’ait jamais été aussi éclatante. Il faut toutefois se méfier de ce qui paraît évident et peut-être y a-t-il eu de profonds changements au cours de ces deux dernières décennies où son œuvre est apparue..

Derrida is one of the few Continental philosopher-critics as esteemed for his writings about visual topics as for his attention to more textually based subjects. This volume collects key and scarce writings about the making and apprehension of "visual objects," though the chief focus is on drawing, painting, and photography (with sorties into video and film). What preoccupied Derrida when it came to the visual arts is visibility: what does a pencil actually trace-make visible- when someone is making a drawing? (...) What aspect of the drawing documents the artist's thought and what part documents an external object? What comes from painting other than a painting? The writings collected range from essays originally published in small magazines and journals to never-before translated talks and interviews. There are 19 pieces in all, of which seven have been previously published in English.. The rest have been translated into English for the first time. None is included in the Press's already substantial inventory of works by Derrida. The collection comprises three thematic sections: (1) "The Traces of the Visible" is attuned to the field's preoccupation with the "trace," what is an "image," visibility, and space. (2) "Rhetoric of the Line: Painting, Drawing" engages nearly every register in which one can experience art: the materiality of line and text, the eros of aesthetic experience, the politics of color, and the components of painting, writing and drawing taken together. (3) "Spectralities of the Image: Photography, Video, Cinema and Theatre" explores the media we most readily associate with modern and contemporary art practices. (shrink)

La mort de Marat, le 13 juillet 1793, est un événement régulièrement revisité par les journalistes, les érudits locaux et secondairement les historiens « universitaires ». L’originalité de la démarche de Guillaume Mazeau est de prendre parti, dès l’introduction, pour «une histoire universitaire engagée » à propos de l’assassinat commis par Charlotte Corday contre Marat. Il s’agit alors, entre histoire, historiographie et mémoire, d’entrer dans « une fabrique du passé » où se dévoilent des pr...