Kenneth White, poète et essayiste contemporain, cite beaucoup Deleuze, qui a présidé au jury de sa Thèse d’État en 1979 mais l’a égratigné plus tard dans Mille Plateaux. Cet épisode n’est jamais abordé dans la littérature whitienne. On compare ici le dehors whitien qui est substantialisé, pur monde extérieur, et le dehors deleuzien qui est un dehors auquel s’affronte la pensée. On définit la géo-philosophie deleuzienne (que White a pu trouver inspirée de sa propre géopoétique) comme une philosophie de la (...) terre c’est-à-dire non pas une philosophie de la nature mais une philosophie se passant de toute référence à un transcendantal. On retrace ensuite l’histoire du mot « géopoétique » pour conclure qu’il n’y a que peu de rapports entre les concepts whitiens et deleuziens, sinon une simple proximité de vocabulaire. (shrink)

Ce texte reprend de manière holistique l’œuvre de Emile M. Cioran afin de rappeler à quel point elle est taraudée par la question du temps et ne peut se concilier avec la mode littéraire de l’écriture de voyage qu’artificiellement, quoi qu’on en dise.

Cet article redéfinit la fonction poétique pour un certain nombre d’écrivains francophones et anglophones. Chez Keats, Coleridge ou Baudelaire, la vision se voit rapprocher de l’oralité pour donner lieu à une faculté de « voyance » qui pose la question du dérèglement des sens mais affirme la primauté de l’imagination poétique sur ce dérèglement. Chez Rimbaud et Michaux, la poésie acquiert une fonction nette de connaissance et le dérèglement des sens se voit dépasser au profit d’une définition plus large du (...) poète comme expérimentateur et explorateur. Il en découle que la notion de poète « maudit », associée notamment au dérèglement des sens, peut être envisagée comme une « malédiction » lancée en fait par la communauté parce que les nouveautés de l’écrivain ne peuvent s’exprimer que dans un « mécrire » fondamental. (shrink)

Si l’on se demande ce qui permet de rapprocher Nietzsche de Shakespeare, on constate que la « pensée » du temps s’impose comme une évidence. Chacun sait l’importance qu’a pu prendre dans l’œuvre de Nietzsche le concept d’Éternel Retour. Or précisément, l’Éternel Retour n’est pas un concept au sens strict mais déjà une figure de style, une métaphore qui sert, de l’aveu même de Nietzsche, une doctrine ésotérique. À cela on voit que Nietzsche est autant poète que penseur, non seulement (...) parce qu’... (shrink)

Il s’agit ici d’aborder comparativement Nietzsche et Shakespeare sous le rapport de la « folie ». Après avoir résumé Le Roi Lear, de Shakespeare, l’article s’attache à définir le personnage du Fol (ou bouffon) comme porteur d’une vérité cynique et porteur du thème de l’inversion des valeurs propre au paradigme carnavalesque de la fête (Saturnales antiques), auquel Nietzsche, autant que Shakespeare, a pu puiser. On montre ensuite, dans une perspective foucaldienne, que la folie dans la pièce de Shakespeare garde un (...) caractère d’ambiguïté, la vérité semblant circuler entre les différents types de folie (feinte, oraculaire, poétique) que démontrent les différents personnages de la pièce. On rappelle enfin la cohérence entre le rapport philosophique et le rapport existentiel de Nietzsche à la maladie. La notion d’Amor Fati, qui imprègne également la pièce de Shakespeare, synthétise cette attitude à la fois tragique et dionysienne. (shrink)

Introduction Il s’agit ici d’établir la forme shakespearienne – en sa volonté d’opposition à la forme classique, en sa volonté de variété, de digression, d’enchâssement ou d’inachèvement volontaire – sur le sol du Baroque, ce qui ne va pas de soi. Il s’agit de montrer en quoi cette forme, qu’on peut appeler « du dehors » parce qu’elle fuit la perfection dans la clôture qui prévaut à l’âge classique ou renaissant, correspondrait à une pensée du dehors, aisément attribuable à Nietzsche, (...) et défi... (shrink)

Comment peut-on interpréter l’effacement du thème de la « démocratisation du sport », progressivement remplacé par celui de l’ « individualisation des choix sportifs », dans les analyses du sport en France, au cours des deux dernières décennies ? L’ambition de cet article est d’apporter des éléments de réponses à cette question. La méthode choisie est la mise en perspective d’études empiriques traitant de ces thèmes. La thèse soutenue est que le sport est tiraillé entre deux processus contradictoires : l’un (...) va dans le sens de la remise en question des inégalités sociales, la démocratisation du sport en étant l’expression la plus explicite ; l’autre réalise et légitime la forme moderne de hiérarchisation sociale, fondée sur le mérite, la compétition sportive et ses mises en scène en étant les réalisations les plus achevées. En mettant l’accent sur l’un ou l’autre, les études sur le sport construisent des représentations différentes, voire opposées, des transformations de la vie sociale. Après avoir esquissé une typologie obtenue en croisant les deux axes précités, l’étude met en perspective les interprétations différenciées du sport contemporain.How has the « democratization of sport » theme been replaced by that of the « individualization of sport choices », in the analysis of sport in France, over the two last decades ? The goal of this article is to throw light on the question by comparing empirical studies on these themes. The author’s thesis is that sport is historically torn between two contradictory processes : one is the calling in question of social inequalities, the democratization of sport being its most abvious expression. The other subtends the modern form of social hierarchization built on merits, sport competition being the embodiment of this. By putting the emphasis on one or the other process, studies on sport create different or opposing representations of the transformations of social life. After outlining a typology obtained by integrating these two processes, the study presents differentiated views of contemporary sport. (shrink)

Le projet le plus général de Nietzsche peut se formuler de la façon sui­vante : il s’agit de démontrer que le monde phénoménal, tout particulière­ment sous sa forme sensible, n’est pas cette simple apparence, ce résidu né­gligeable qui tend à empêcher la révélation de l’Être véritable. C’est ce qu’il appelle « renverser » le platonisme et qui consiste donc à affirmer le monde phénoménal. Mais le matérialisme post-nietzschéen a souvent compris ce projet comme une pure et simple gestion de la (...) m... (shrink)

Suppose libertarians could prove that durable, unqualified private property rights could be created through 'original acquisition' of unowned resources in a state of nature. Such a proof would cast serious doubt on the legitimacy of the modern state. It could also render the approach to property rights that I favour irrelevant. I argue here that none of the familiar Lockean-libertarian arguments for a strong natural right to acquisition succeed, and that any successful argument for grounding a right to acquire would (...) have to use my favoured approach to property rights - the 'vector-sum' approach. I conclude with some doubts about original acquisition theory and natural property rights. (shrink)

Recent work in the ontology of music suggests that we will avoid confusion if we distinguish between two kinds of question that are typically posed in music ontology. Thus, a distinction has been made between fundamental ontology and higher-order ontology. The former addresses questions about the basic metaphysical options from which ontologists choose. For instance, are musical works types, indicated types, classes of particulars, or some other kind of entity? Higher-order ontology addresses the question of what lies ‘at the centre’ (...) of a specific form of music, such as rock or jazz—or perhaps classical music. The argument of this essay is, first, that a close examination of the best efforts in two of these territories shows that they have the effect of pressing the music in each sphere into implausible Procrustean beds. Second, it is argued that the general question that higher-order ontologies pose, that is, ‘What work-kind is it that lies at the centre of a given kind of music, F?’ is a question based on a mistaken but seductive assumption, namely that the concept of the work of F has actual application. In fact, these concepts—upon which higher-order ontology depends—are mere artefacts of philosophy. The question is also addressed why the assumption is so seductive. Finally, the question finally is posed about what, if anything, is implied from the foregoing about the traditional ontology of classical music. (shrink)

This paper continues a discussion concerning the distinction between disability and handicap initiated in this volume by Steven D. Edwards. Edwards argues that the reasons advanced by the WHO for this distinction in its International Classification of Impairments, Disabilities and Handicaps (ICIDH) are not valid. Edwards also criticizes my own quite different grounds for distinguishing between the two concepts. His general conclusion is that the distinction is superfluous. In this paper I claim that Edwards's reasoning is invalid. I present five (...) arguments for my case, viz., the arguments from: a) practical necessity, b) cost-effectiveness, c) clinical practice, d) the subject's vital goals, and e) the universal presence of some basic action. My own conclusion thus is that there is a need within health care for a distinction between disabilities and handicaps. I also indicate that there may be a need for further distinctions along the dimension of action-generation which is presented in the paper. (shrink)

It is well known that when resolution occurs in the stichic iambics and trochaics of tragedy word-end is not found between the two shorts so produced: w or, more accurately, that the first short of resolution must not be the last syllable of a polysyllabic word. Moreover, the syllables in resolution most often form part of the same word as the following short or anceps, e.g.: Ion 1143.

This article uses two concepts—trying on gender and local gender regime—to examine adolescent gendering processes for 26 girls from two northeastern communities. Based on a four-year study, the author found that the process of becoming a woman is much more provisional than previously thought. Adolescent girls resist, experiment, and practice gender in a trying-on process; gender, race, and class structures in the communities mutually reinforce particular kinds of femininities. This article describes the gender regime of each community and examines how (...) the gender regimes differentially shape the process of trying on gender as these girls make the transition to womanhood. (shrink)

The image of Antonio Salieri is recreated based on the memories of his contemporaries and epistolary and journalistic literature. The author, relying on memoir literature, archival documents and journalistic sources, substantiates his own position regarding A. Salieri’s contribution to the world artistic treasury and artistic higher education, the expediency of researching his heritage at the current stage. A wide range of primary sources little-known in scientific circulation are used, which allow us to reveal the image of Antonio Salieri – a (...) musician, composer, teacher, theater director, rector of the central art institution of higher education in Europe in the 19th century – the Vienna Conservatory. The concept of A. Salieri’s involvement in the early death of is refuted Mozart. The aim consists in recreating the image of Antonio Salieri based on the memories of his contemporaries and epistolary and journalistic literature. The tasks of the research are the analy of primary sources on this issue and the identification of modern approaches to Antonio Salieri’s contribution to the world artistic treasury. Research methods. The methodology of the author’s research is based on the content-comparative method, which allows you to determine the reliability of one or another source, the ratio of traditionally established and non-traditional vision of the image of a prominent representative of his era – Antonio Salieri. Reconstruction was also used – to reproduce the events of the era at the turn of the 18 – 19th centuries within the scope of the research. Research results: The development of the pedagogical heritage of A. Salieri in the activities of his students and followers is shown; the creative portrait of Y.N. Hummel, who, thanks to the Maestro, mastered vocal art, Italian musical terminology, music theory and solfeggio, choral singing and conducting, orchestration, pedagogical skills, combined “Salierian” classicism and his own romanticism. The achievements of Fortunata Valzel-Franchetti as a singer, artist and teacher are analyzed, and it is shown how the vocal-pedagogical school of A. Salieri came to Ukraine through her. Conclusion.The analysis of primary sources –correspondence, diaries of Antonio Salieri and his students, made it possible to find out the significance of the Maestro’s creative heritage for subsequent eras, to recreate his image based on the memories of his contemporaries and epistolary and journalistic literature. 27 archival cases were presented for consideration, which gave an opportunity to understand how domestic scientists, artists and publicists treated Antonio Salieri throughout the 20th century, so often they turned to his creative heritage. After careful analysis of these materials, it can be said that their assessment was very high. (shrink)

There is no subject at the interface of law, psychiatry and medical ethics which is more controversial than psychosurgery. The divergent views of the treatment begin with its definition. The World Health Organisation1 and others2 define psychosurgery as the selective surgical removal or destruction of nerve pathways or normal brain tissue with a view to influencing behaviour. However, proponents of psychosurgery demur on the basis that the `modern' treatment is concerned predominantly with emotional illness, without any specific effect upon behaviour. (...) The alternative definition offered is `the surgical treatment of certain psychiatric illnesses by means of localised lesions placed in specific cerebral sites.3It is difficult entirely to accept this definition because, as examined below, scientific psychiatry is not yet in a position to directly treat psychiatric illness solely through surgical intervention. There is no reliable theoretical relationship between particular cerebral sites (which are normal and healthy) and an identifiable psychiatric illness or symptomatology. Given this state of psychiatric understanding, it is misleading to suggest fine distinctions between generalised alteration of behaviour or mood and treatment of an illness. Highly divergent practices and theories (relating to the multiplicity of conditions treated, surgical methods adopted and areas of the brain operated upon) further undermine exaggerated claims that psychosurgery can scientifically `treat' specific illness through precise surgical intervention. Nonetheless, contemporary psychosurgery does not contain quite the same `broadbrush' approach of its ancestors and it can lay some legitimate claim as an effective empirical treatment in narrowly limited circumstances. Major ethical problems still, however, arise and these will be discussed in this article. (shrink)

I. Singminji sigi p'yŏn -- II. Chŏnhwan'gi ŭi iron oe.

Let A₁,..., An, An+1 be a finite sequence of algebras of sets given on a set X, $\cup _{k=1}^{n}{\cal A}_{k}\neq \germ{P}(X)$, with more than $\frac{4}{3}n$ pairwise disjoint sets not belonging to An+1. It was shown in [4] and [5] that in this case $\cup _{k=1}^{n+1}{\cal A}_{k}\neq \germ{P}(X)$. Let us consider, instead An+1, a finite sequence of algebras An+1,..., An+l. It turns out that if for each natural i ≤ l there exist no less than $\frac{4}{3}(n+l)-\frac{l}{24}$ pairwise disjoint sets not belonging (...) to An+i, then $\cup _{k=1}^{n+1}{\cal A}_{k}\neq \germ{P}(X)$. But if l ≥ 195 and if for each natural i ≤ l there exist no less than $\frac{4}{3}(n+l)-\frac{l}{15}$ pairwise disjoint sets not belonging to An+i, then $\cup _{k=1}^{n+1}{\cal A}_{k}\neq \germ{P}(X)$. After consideration of finite sequences of algebras, it is natural to consider countable sequences of algebras. We obtained two essentially important theorems on a countable sequence of almost σ-algebras (the concept of almost σ-algebra was introduced in [4]). (shrink)

Written with the general reader in mind, this collection will prove useful by both scholar and student, and will lead the general reader to encounter one of the ...

D. Blumbergi identifies three kinds of moral criticism: (i) of an individual for violating a moral practice in his society, (2) of a moral practice but not the individual who participates in it, and (3) of both an individual and the practice in accordance with which he acts ('practice-personal' criticism) (p. 348). According to Mr. Blumberg, successful derivation of a conclusive 'ought'-statement from statements about socially-created obligations would show how moral criticisms of type 1 are justified. Moral criticisms of type (...) 2 would still be allowed, but not those of type 3. -/- I discuss the following points made by Blumberg: (A) Criticism of type 1 is 'the most common kind of moral judgment' (p. 356); (B) Searle dispensed 'with the conclusive aspect of the conclusion, and with it the finality of the derivation, when it began to seem unrealizable' (p. 356); (C) 'It is impossible to derive conclusive "ought"-statements embodying our traditional moral outlook from statements about socially-created obligations, . . .' (p. 355); (D) 'Either we surrender the attempt to derive a conclusive "ought" -statement from statements about socially-created obligations, or else we must surrender our right to make practice-personal criticisms' (p. 357). -/- I argue that conclusiveness in judgments, both moral and non-moral, is always relative to the range of reasons weighed, the implications of action considered. Therefore 'ought' must always be taken to be context-bound just as moral principles are taken to be defeasible, elliptical. This interpretation of 'ought' and 'conclusive' as bound to a context, point of view or framework, is quite consistent with Searle's distinction between what is internal and external to an institution. (shrink)

The shape of hooks is of a taxonomic significance for cestoda. In order to characterize shape through numbers, a mathermatical model of drawings in two-dimensional space is proposed. This model is a synthetic one: first, it uses a large number of points on the edge of a hook-drawing as data; secondly, it enables to draw a specific hook by means of a computer after the parameters have been extracted from the data. The method does not use landmarks and therefore avoids (...) the difficulty of locating them. The ensuing discussion concerns description in common parlanceversus mathermatical language, the genesis of hooks and description in three-dimensional space. (shrink)