The association between New York City’s all-over structure and the play that unfolds within it relative to difference and identity is very pertinent but is not specific enough, in my opinion. On the one hand, all of Mondrian’s neoplastic works are constituted by an opposition between the variable and the invariable . On the other hand, the type of identity produced in New York City relies on repetition, a principle which, we know, explicitly governs a whole range of paintings predating (...) neoplasticism. New York City differs from the “classic” neoplastic works, as well as from the 1918-19 modular paintings with which it seems to have a good deal in common. It is, in part, because he never discusses this last point that Masheck doesn’t entirely grasp the amplitude of the reversal that Mondrian effected in his New York works.In fact, as James Johnson Sweeney realized quite early, one must go back o the 1917 works, which gave rise to modular grids for the two years that followed, in order to understand what happens not only in New York City but also in the two Boogie-Woogie paintings.3Everyone is aware of the extraordinarily rapid evolution of Mondrian’s work during the years immediately preceding the foundation of neoplasticism: under the influence of Bart van der Leck, he dopted the colored plane and the black dash on a white background as elements of his composition for the two Compositions in Color, A and B . Mondrian, who had not yet found a means of perspicuously relating these diverse elements , tied both plane and dashes together by way of an optical dynamism, based largely on their superimposition. The immediate consequence was to make the background recede optically. The next step was the five Compositions , all entitled “With Colored Planes” . Here all superimposition was eliminated, as well as all “line.” In the last two of these canvases, the background itself is divided without remainder in to planes of different shades of white. The colored rectangles are on the way to alignment. In spite of this, the rectangles fluctuate and, consequently, the background is hollowed out behind them. 3. See James Johnson Sweeney, “Mondrian, the Dutch and De Stijl,” Art News 50 : 63. Meyer Schapiro made a similar remark, at about the same time, in his courses. 4. When I refer to a number accompanied by “Seuphor,” it refers to the “catalog by group” included in Michel Seuphor’s book on the artist. See Seuphor [Ferdinand Louis Berckelaers], Piet Mondrian; sa vie, son oeuvre, 2d ed. . Yve-Alain Bois is associate professor of art history at the Johns Hopkins University. He has published a number of essays on twentieth-century art, architecture, and criticism and is currently working on Mondrian’s neoplastic years and on a history of axonometric perspective. Amy Reiter-McIntosh is a lecturer at the University of Chicago. Her previous contribution to Critical Inquiry was a translation of Ernesto Laclau’s “Psychanalyse et marxisme”. (shrink)

The diversity in colour patterns on butterfly wings provides great potential for understanding how developmental mechanisms may be modulated in the evolution of adaptive traits. In particular, we discuss concentric eyespot patterns, which have been shown by surgical experiments to be formed in response to signals from a central focus. Seasonal polyphenism shows how alternate phenotypes can develop through environmental sensitivity mediated by ecdysteroid hormones, whereas artificial selection and single gene mutants demonstrate genetic variation influencing the number, shape, size, position, (...) and colour composition of the eyespots. The expression patterns of the regulatory gene Distal-less reveal that these changes can arise at several different developmental stages, and the phenotypes indicate that some forms of changed pattern may occur much more readily than others. Further study of the genes, of the developmental mechanisms, and of the functions of the patterns will provide novel insights about the evolution of morphological diversity. BioEssays 21:391–401, 1999. © 1999 John Wiley & Sons, Inc. (shrink)

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

We study the Full Bayesian Updating rule for convex capacities. Following a route suggested by Jaffray (IEEE Transactions on Systems, Man and Cybernetics 22(5):1144–1152, 1992), we define some properties one may want to impose on the updating process, and identify the classes of (convex and strictly positive) capacities that satisfy these properties for the Full Bayesian Updating rule. This allows us to characterize two parametric families of convex capacities: ${(\varepsilon,\delta)}$ -contaminations (which were introduced, in a slightly different form, by Huber (...) (Robust Statistics, Wiley, New York, 1981)) and ${\varepsilon}$ -contaminations. (shrink)

A collection of essays in French or English on the reception of Cartesian philosphy.

Les études modernes sur les jeux de hasard et d’argent dans le monde romain se concentrent principalement sur les joueurs masculins de l’élite, mais les sources écrites et iconographiques fournissent de nombreuses preuves de la présence de joueuses de tous horizons. Cette contribution rassemble les témoignages textuels et iconographiques qui, jusqu’à présent, ont été largement négligés quant aux informations qu’ils peuvent fournir sur les femmes et le jeu dans l’Antiquité romaine. Elle explore la relation entre le jeu et le féminin, (...) des déesses aux grands-mères, et met en lumière les implications sociales du jeu et des paris pour les joueuses. Le jeu féminin était très répandu et pouvait prendre des formes différentes dans des contextes variés. En analysant ces textes ensemble pour la première fois, nous pouvons saisir de manière plus riche et nuancée l’importance du jeu au féminin à Rome en révisant les modèles existants trop dépendants de quelques textes célèbres. (shrink)

What constitutes an event? Propelled by this question, Sounding the Event encounters a variety of theories and a host of issues that have implications for not only conceptions of nature and becoming, subject and substance but also practices of time, art and photography. This book explores dialogue in its writing and as it encounters the philosophical utterances of Michel Serres, Isabelle Stengers, Alfred North Whitehead, Jean-Franbliogçois Lyotard, Maurice Blanchot, Gilles Deleuze and Fbliogelix Guattari, and Alain Badiou.

Computational cell models appear as necessary tools for handling the complexity of intracellular cell dynamics, especially calcium dynamics. However, while oscillating intracellular calcium oscillations are well documented and modelled, a simple enough virtual cell taking into account the mechano-chemical coupling between calcium oscillations and cell mechanical properties is still lacking. Considering the spontaneous periodic contraction of isolated cardiac myocytes, we propose here a virtual cardiac cell model in which the cellular contraction is modelled using an hyperelastic description of the cell (...) mechanical behaviour. According to the experimental data, the oscillating cytosolic calcium concentrations trigger the spatio-temporal variation of the anisotropic intracellular stresses. The finite element simulations of the virtual cell deformations are compared to the self-sustained contractions of isolated rat cardiomyocytes recorded by time-lapse video-microscopy. (shrink)

This article uses the methods of citation and network analysis to map the global structure of the intellectual field and its development over time. Through the case study of Mersenne's, Oldenburg's and Darwin's correspondences, we show how looking at letters as a corpus of data can provide a global representation of the evolving conversation going on in the Republic of Letters and in intellectual and scientific fields. Aggregating general correspondences in electronic format offers a global portrait of the evolving composition (...) of the intellectual and scientific scene, its changing foci of interests and the fortune of the intellectual discussions as expressed in cited persons in the letters. Such tools help replace a purely metaphoric use of the term “network” by a visible map of the intellectual relations between people on which well defined calculations of the centrality of the positions of different actors can be made as well as their evolution over time. These techniques provide welcome additions to the tool kit of scholars in an age where the computer and the web offer new ways of mapping and mining the rich store of information contained in intellectual correspondences. ☆ I would like to thank Alain Couillard for the production of the figures and Vincent Larivière and the anonymous referees of the journal for useful comments and suggestions on an earlier version of this paper. Thanks also to the many comments received over the last 10 years as I presented preliminary results of this research at the REHSEIS research center of Université of Paris VII in 1999, the Dibner Institute for the History of Science and Technology at MIT in 2000, at Pietro Corsi's seminar at Oxford University in 2007 and at the History Department of Ottawa University in 2010. (shrink)

Depuis Droit, mythe et raison (1980) écrit avec Jacques Lenoble jusqu’aux récents À quoi sert le droit? Usages, fonctions et finalités (2016) ou Le droit, objet de passions (2018), François Ost ne cesse de questionner les rapports de nos sociétés au droit et la place de celui-ci dans nos sociétés contemporaines. Avec Le droit malgré tout, il s’agit de rendre hommage à l’œuvre et à la carrière d’une figure centrale de la théorie du droit contemporaine et aussi au fondateur, avec (...) le regretté Michel van de Kerchove, de ce que l’on appelle parfois « l’école de Saint-Louis ». Abordant les deux pôles de la dialectique à laquelle François Ost est si attaché - la critique et la reconstruction -, l’ouvrage propose un regard interdisciplinaire sur le droit, à travers les principaux thèmes qui ont nourri la pensée de l’auteur. Du statut épistémologique de la science du droit à un questionnement sur les fondements et l’avenir du droit et de la justice, des liens qu’entretiennent le droit et la littérature jusqu’à l’environnement saisi par le droit en passant par les « communs », les approches de ses collègues et amis sont toutes réflexives et critiques. En ce qu’elles sont soucieuses de soumettre le droit au regard des sciences sociales et, inversement, les normativités extra-juridiques au regard du droit, elles sont fidèles à la démarche de François Ost. Ce Liber Amicorum propose aussi un retour réflexif sur son œuvre par l’auteur lui-même, dans un entretien avec Manuel Atienza. Contributeurs : Yves CARTUYVELS, Robert JACOB, Mark VAN HOECKE, Jacques COMMAILLE, Isabelle HACHEZ, Laurent VAN EYNDE, Jacques LENOBLE, Benoit FRYDMAN, Alain PAPAUX, Guillaume DE STEXHE, Diane BERNARD, Antoine GARAPON, Jacques CHEVALLIER, Alain SUPIOT, Paul MARTENS, Jérémie VAN MEERBEECK, Sébastien VAN DROOGHENBROECK, Nicolas BERNARD et Françoise TULKENS, Pierre LEGRAND, Annette RUELLE, Isabelle OST, Jeanne GAAKEER, Massimo VOGLIOTTI, Denis SALAS, Pauline BÉGASSE DE DHAEM et Marie-Sophie DE CLIPPELE, Xavier DELGRANGE, Delphine MISONNE, Benoît JADOT, Alain STROWEL, Hugues DUMONT, Jean-Guy BELLEY, Antoine BAILLEU. (shrink)

Dans un texte désormais célèbre, Ferdinand de Saussure insiste sur l’arbitraire du signe dont il vante les qualités. Toutefois il s’avère que le symbole, signe non arbitraire, dans la mesure où il existe un rapport entre ce qui représente et ce qui est représenté, joue un rôle fondamental dans la plupart des activités humaines, qu’elles soient scientifiques, artistiques ou religieuses. C’est cette dimension symbolique, sa portée, son fonctionnement et sa signification dans des domaines aussi variés que la chimie, la théologie, (...) les mathématiques, le code de la route et bien d’autres qui est l’objet du livre La Pointure du symbole. -/- Jean-Yves Béziau, franco-suisse, est docteur en logique mathématique et docteur en philosophie. Il a poursuivi des recherches en France, au Brésil, en Suisse, aux États-Unis (UCLA et Stanford), en Pologne et développé la logique universelle. Éditeur-en-chef de la revue Logica Universalis et de la collection Studies in Universal Logic (Springer), il est actuellement professeur à l’Université Fédérale de Rio de Janeiro et membre de l’Académie brésilienne de Philosophie. SOMMAIRE -/- PRÉFACE L’arbitraire du signe face à la puissance du symbole Jean-Yves BÉZIAU La logique et la théorie de la notation (sémiotique) de Peirce (Traduit de l’anglais par Jean-Marie Chevalier) Irving H. ANELLIS Langage symbolique de Genèse 2-3 Lytta BASSET -/- Mécanique quantique : quelle réalité derrière les symboles ? Hans BECK -/- Quels langages et images pour représenter le corps humain ? Sarah CARVALLO Des jeux symboliques aux rituels collectifs. Quelques apports de la psychologie du développement à l’étude du symbolisme Fabrice CLÉMENT Les panneaux de signalisation (Traduit de l’anglais par Fabien Shang) Robert DEWAR Remarques sur l’émergence des activités symboliques Jean LASSÈGUE Les illustrations du "Songe de Poliphile" (1499). Notule sur les hiéroglyphes de Francesca Colonna Pierre-Alain MARIAUX Signes de vie Jeremy NARBY Visualising relations in society and economics. Otto Neuraths Isotype-method against the background of his economic thought Elisabeth NEMETH Algèbre et logique symboliques : arbitraire du signe et langage formel Marie-José DURAND – Amirouche MOKTEFI Les symboles mathématiques, signes du Ciel Jean-Claude PONT La mathématique : un langage mathématique ? Alain M. ROBERT. (shrink)

Tribute to Jean-Yves Jaffray by the French Group of Decision Theory.

Philosophe et penseur du politique, intellectuel marxiste et militant communiste, enseignant, directeur de collection... : à travers le rayonnement de son oeuvre et de sa personne, Louis Althusser a renouvelé la théorie politique et la philosophie de l'histoire, de Machiavel à Marx. Parmi ses contemporains, Michel Foucault exhorte : " Ouvrez les livres d'Althusser! ", Jacques Derrida évoque " la force rayonnante et provocante de sa pensée ", Gilles Deleuze salue l'" Althusser's Band ", et pour Roland Barthes, " le (...) seul modèle acceptable de la science est celui mis au jour par les études d'Althusser sur Marx ". Aliocha Wald Lasowski converse avec vingt écrivains et philosophes qui ont lu, rencontré, parfois travaillé avec Althusser, quand ils n'ont pas fait partie de ses proches. Où l'on mesure à quel point la pensée d'Althusser demeure d'une actualité brûlante. (shrink)

Rudolf Arnheim’s theory of perception has been used to challenge the highly influential account of synthetic Cubism as a sign-like process of Rosalind Krauss and Yve-Alain Bois. While the use of Arnheim’s idea of perceptual substitution works in a theoretical sense, it is less successful as a historical argument, because unlike Picasso’s art dealer, Daniel-Henry Kahnweiler, who is discussed by Bois, Arnheim’s ideas weren’t formulated until the 1950s. This article enriches the theoretical argument made on behalf of Arnheim by (...) supplying the theory of Gustaf Britsch as a historical link that fed Arnheim’s later rigorous theory. Britsch articulated an early theory of perceptual substitution, a kind of Gestalt-perception, that is capable of accounting for the innovations of Synthetic Cubism. (shrink)

This essay, by the editor of Common Knowledge, introduces the sixth and final installment of “Fuzzy Studies,” the journal's “Symposium on the Consequence of Blur.” Suggesting that “Fuzzy Studies” should be understood in the context of a desultory campaign against zeal conducted in the journal for almost twenty years, he explains that the editors' assumption has been that any authentic case for the less adamant modes of thinking, or the less focused ways of seeing, needs to be unenthusiastic and carefully (...) ramified. To establish the distinction between overenthused and unemphatic approaches to blur, he contrasts the ecstatically amorphous “Blur building” (on Switzerland's Lake Neuchâtel) with examples of classical Chinese landscape painting. Elizabeth Diller and Richard Scofidio, in their book blur: the making of nothing, chronicle the development of their plans for the Blur building and, in the process, inadvertently show that, to overbear various negative associations of blur and fog, the authors/architects grew self-contradictorily emphatic about the need to produce de-emphasis in architecture and in modern life. Perl shows how this self-contradiction appears also in phenomenology-inflected writings on blur by T. J. Clark, Yve-Alain Bois and Rosalind Kraus, J.-P. Sartre, and Georges Bataille, but not in the work of the phenomenologist (and sinologist) François Jullien, whose book The Great Image Has No Form analyzes the role of blur in classical Chinese art theory and practice. Where traditional Western painting, Jullien argues, calls for voyeuristically intense focus, traditional Chinese painting stimulates “dé-tente, relaxation or ‘untensing’.” Intense focus on a blur is still, Perl observes, an intense focus. In describing a painting by the Yuan Dynasty master Ni Zan, Perl concludes that the only way to be un-self-contradictorily positive about fuzziness, whether in logic or aesthetics, is to de-reify and de-differentiate with the aim of achieving blandness. (shrink)

Cet article d'histoire éditoriale fait le point sur les neuf éditions de l'anthologie titrée Cantiques de Maisonfleur, de 1580 à 1613, son expansion et ses recompositions, et sur son éclatement dans d'autres recueils de 1591 à 1621. La coprésence de poèmes dus à des auteurs de cour connus comme catholiques et à des poèmes de spiritualité réformée ou écrits par des poètes réformés (pasteurs) fait l'objet d'un examen sous l'angle de la construction éditoriale. Selon notre hypothèse, le recueil essaie moins (...) d'unir les deux confessions qu'il ne tente de concilier le statut de sujet du roi de France, attaché à la monarchie des Valois, et de fidèle réformé. Poètes présents dans l'anthologie : Jérôme de Maisonfleur, Valagre, T. de Sautemont, Marin Le Saulx, Yves Rouspeau, A. de La Roche-Chandieu, Belleau, Du Bellay, Ronsard, Desportes, Malherbe, Bertaud, Du Perron, Pibrac, A. Favre, et autres. (shrink)

First systematic presentation and assessment of the groundbreaking journal Cahiers pour l’Analyse. Concept and Form is a two-volume monument to the work of the philosophy journal the Cahiers pour l’Analyse (1966–69), the most ambitious and radical collective project to emerge from French structuralism. Inspired by their teachers Louis Althusser and Jacques Lacan, the editors of the Cahiers sought to sever philosophy from the interpretation of given meanings or experiences, focusing instead on the mechanisms that structure specific configurations of discourse, from (...) the psychological and ideological to the literary, scientific, and political. Adequate analysis of the operations at work in these configurations, they argue, helps prepare the way for their revolutionary transformation. The first volume comprises English translations of some of the most important theoretical texts published in the journal, written by thinkers who would soon be counted among the most inventive and influential of their generation. The second volume collects newly commissioned essays on the journal, together with recent interviews with people who were either members of its editorial board or associated with its broader theoretical project. Contributors include Alain Badiou, Étienne Balibar, Edward Baring, Jacques Bouveresse, Yves Duroux, Alain Grosrichard, Peter Hallward, Adrian Johnston, Serge Leclaire, Patrice Maniglier, Tracy McNulty, Jacques-Alain Miller, Jean-Claude Milner, Knox Peden, Jacques Rancière, François Regnault, and Slavoj Žižek. (shrink)

The French philosopher Jacques Rancière has influenced disciplines from history and philosophy to political theory, literature, art history, and film studies. His research into nineteenth-century workers’ archives, reflections on political equality, critique of the traditional division between intellectual and manual labor, and analysis of the place of literature, film, and art in modern society have all constituted major contributions to contemporary thought. In this collection, leading scholars in the fields of philosophy, literary theory, and cultural criticism engage Rancière’s work, illuminating (...) its originality, breadth, and rigor, as well as its place in current debates. They also explore the relationships between Rancière and the various authors and artists he has analyzed, ranging from Plato and Aristotle to Flaubert, Rossellini, Auerbach, Bourdieu, and Deleuze. The contributors to this collection do not simply elucidate Rancière’s project; they also critically respond to it from their own perspectives. They consider the theorist’s engagement with the writing of history, with institutional and narrative constructions of time, and with the ways that individuals and communities can disturb or reconfigure what he has called the “distribution of the sensible.” They examine his unique conception of politics as the disruption of the established distribution of bodies and roles in the social order, and they elucidate his novel account of the relationship between aesthetics and politics by exploring his astute analyses of literature and the visual arts. In the collection’s final essay, Rancière addresses some of the questions raised by the other contributors and returns to his early work to provide a retrospective account of the fundamental stakes of his project. _Contributors_. Alain Badiou, Étienne Balibar, Bruno Bosteels, Yves Citton, Tom Conley, Solange Guénoun, Peter Hallward, Todd May, Eric Méchoulan, Giuseppina Mecchia, Jean-Luc Nancy, Andrew Parker, Jacques Rancière, Gabriel Rockhill, Kristin Ross, James Swenson, Rajeshwari Vallury, Philip Watts. (shrink)

According to the French philosopher Alain, art must regain its existence as a real and solid object to counteract deceitful imagination. In line with this view is Yves Michaud’s description of the “gaseous” state of contemporary art. Paradoxically, the wide circulation of many ‘artistic’ products, destined to be consumed and invoke emotions, does not indicate that we are in presence of an important affirmation of ethical and aesthetical values. As it were, the proliferation of aesthetic objects has destroyed (...) the symbolic value of art. The Italian philosopher Gianni Carchia has underlined how the disappearance of the axiological dimension has led art towards imposture and under the yoke of imagination, which both assist the strategies of the demonic. At this point a question arises: is it possible to eradicate the power of the demonic and evil from our existential condition? According to Jung it’s impossible. In Castelli’s view, the union between art, evil and the demonic has characterized the artistic panorama of the sixteenth century. In the twentieth-century, we owe to Hermann Broch – who brought the raising power of kitsch under philosophical scrutiny − the idea of a complicity between degraded art and evil. Not all scholars agreed that Kitsch represented evil. Many philosophers argued that the growing popularity of Kitsch among the masses posed a problem concerning the demand for art. For this reason, philosophical speculation had better not take a Manichean attitude and reject Kitsch outright, on the contrary, Kitsch should be studied with the aim of transforming the “hunger for art”, of which it is a manifestation, into a desire for ethical and artistic values. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Boundaries: Writing and DrawingTom ConleyBoundaries: Writing and Drawing, edited by Martine Reid; Yale French Studies, iv & 268 pp. New Haven: Yale University Press, 1994, $15.95 paper.The fifteen articles of this issue of Yale French Studies discern the limits of meaning and legibility wherever writing and drawing become coextensive. In pondering the origins of writing Henry-Jean Martin (in Le pouvoir et l’histoire de l’écrit) has recently asked if (...) script and print have evolved from pictographic or hieroglyphic writing. If so, he implies, to what degree does visual force animate all writing? How does meaning, otherwise conveyed through writing, get complicated or subverted by the shape or motion of its form? When does the writer engage the illegible to call into question communication in general? Citing Michel Foucault, for whom calligraphy and drawing offer a glimpse of an “immense and unavowable teratology” (p. 12), the editor argues that the visible matter of discourse becomes its repressed or irrecuperable—hence supremely literary—worth.She organizes the contributions under three rubrics. Part one studies the history of the relation of writing to drawing through emphasis on psychogenesis. For Serge Tisseron an “inscriptive gesture” (p. 29), a memory of a manual pleasure, is relayed through the artist’s or writer’s labors. The written trace recalls originary separation, the page becoming a “metaphoric container of one’s own body and the mother’s body” (p. 41). Georges Roque shows how postcartesian ideology associates line with philosophy and relegates color to a lower order of sensation. In a Derridean turn he notes, “color is to drawing as [End Page 410] writing is to speech” (p. 57). Jean-Gérard Lapacherie argues that we are taught to exclude reading from the act of looking at a text, and that contemporary literature forcibly erodes that division.Part two is devoted to close analysis of writers who draw. Jacques Leenhardt brilliantly analyzes visual and aural displacements, even condensations, what he calls “monograms of sensation,” in the sketches and notes in Stendhal’s Journal de Paris. Alain Buisine traces the appeal that drawings of Rimbaud’s face had for the poet’s milieu. Claude Gandelman studies Proust’s manuscript drawings in light of the broader process of dreamwork in A la recherche du temps perdu. Looking at the Cahiers, 1894–1914, Serge Bourjea contends that for Paul Valéry the labors of intellection and writing are a “matter of sketching” (p. 137), or of perpetually “rough” drafting. Jacques Derrida’s “Maddening the Subjectile,” Mary Ann Caws’s limpid translation of an essay on Artaud’s textual drawings (“Forcener le subjectile”), defines a pictogram as what moves ceaselessly and inseparably between painting, drawing, and verbal expression.Part three moves toward artists who write. Bernard Vouilloux rehearses Derrida’s arguments about the “supplement” and the pictogram to themes of painting and painters in Rousseau’s early and later works. Michel Thévoz gives a dazzling reading of Jean Dubuffet’s art brut dans l’écriture, the explosive sketching of discourse that fractures the icons of elegance and control that project the myth of clear and classical French. Jan Baetens calls “latent violence” the marvelous areas where image, geometrical form, typography, and enunciation abut each other in M. C. Escher’s drawings, Régis Franc’s comic strips, and Martin Vaughn-James’s La Cage. Renée Riese Hubert sums up the volume with a study of the double binds that Derrida and Adami project in their collaborations of drawing and writing.This issue of Yale French Studies holds to the theme of writing as drawing. Martine Reid’s introduction and her two interviews with Michel Butor and Yves Bonnefoy map out an overall itinerary of vicious circularity. Literature is a continuing regression, fraught with pleasure and risk, that takes place when language, writing, and drawing are conflated. All of the essays are of high quality. Tisseron, Leenhardt, Derrida, and Thévoz set a standard to which the others conform. All adepts of art and literature will welcome this fabulous volume.Tom ConleyHarvard UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)

Discusses Locke's life and views and their impact on American philosophy, as well as his role in the Harlem Renaissance.

L’ouvrage de Jean Quétier, Le Travail de parti de Marx. Intervenir dans les organisations ouvrières, publié aux Éditions de la Sorbonne (collection « La philosophie à l’œuvre ») explore de manière inédite les modalités d’interventions politiques de Marx au sein des organisations ouvrières. Parallèlement à ce premier opus, Jean Quétier publie la même année aux Éditions sociales (collection « Les essentielles ») une anthologie de textes de Marx intitulée Sur le parti révolutionnaire. S’ouvrant...

This article develops an ethical construct of “respectful use” to govern the conduct of humans toward animals. The scope of the terms “use” and “respectful” are developed. Some guidelines for the discernment of respectful use of animals are suggested. Then the status of animals within the legal system is briefly considered. Within the law, the socially defined key term is “unnecessary” rather than respectful. Finally, the newer legal standard of duty of care is shown to be approaching the ethical concept (...) of respectful use. (shrink)

Background: Hospital nurses are frequently the first care givers to receive a patient’s request for euthanasia or physician-assisted suicide (PAS). In France, there is no consensus over which medical practices should be considered euthanasia, and this lack of consensus blurred the debate about euthanasia and PAS legalisation. This study aimed to investigate French hospital nurses’ opinions towards both legalisations, including personal conceptions of euthanasia and working conditions and organisation. Methods: A phone survey conducted among a random national sample of 1502 (...) French hospital nurses. We studied factors associated with opinions towards euthanasia and PAS, including contextual factors related to hospital units with random-effects logistic models. Results: Overall, 48% of nurses supported legalisation of euthanasia and 29%, of PAS. Religiosity, training in pallative care/pain management and feeling competent in end-of-life care were negatively correlated with support for legalisation of both euthanasia and PAS, while nurses working at night were more prone to support legalisation of both. The support for legalisation of euthanasia and PAS was also weaker in pain treatment/palliative care and intensive care units, and it was stronger in units not benefiting from interventions of charity/religious workers and in units with more nurses. Conclusions: Many French hospital nurses uphold the legalisation of euthanasia and PAS, but these nurses may be the least likely to perform what proponents of legalisation call “good” euthanasia. Improving professional knowledge of palliative care could improve the management of end-of-life situations and help to clarify the debate over euthanasia. (shrink)