Les témoignages directs les plus précieux qui nous soient parvenus sur la peinture grecque ancienne sont constitués par le décor de monuments funéraires de Macédoine, datés pour la plupart entre le troisième quart du IVe siècle et le premier quart du IIIe siècle av. J.-C. Une première vision de cette peinture est fournie au spectateur contemporain par le décor des façades et de l'intérieur des tombeaux macédoniens monumentaux, par celui des tombes à ciste d'aspect moins imposant, des lits mortuaires richement (...) ornés, des trônes royaux mais aussi de monuments plus humbles comme les stèles funéraires en marbre. Le présent article offre pour la première fois une présentation synthétique et comparative d'éléments entrant en jeu dans l'exécution proprement dite des œuvres picturales antiques. En mettant en parallèle, d'une part, la gamme des pigments et des colorants, telle qu'on peut la reconstituer à partir des données des analyses physico-chimiques les plus récentes, d'autre part, les techniques complexes et variées appliquées par les peintres antiques pour atteindre chaque fois un résultat esthétique particulier, on parvient à donner une vision aussi claire que possible des conquêtes de la peinture grecque ancienne. (shrink)

In recent years, a number of authors have started studying Aristotelian diagrams containing metalogical notions, such as tautology, contradiction, satisfiability, contingency, strong and weak interpretations of contrariety, etc. The present paper is a contribution to this line of research, and its main aims are both to extend and to deepen our understanding of metalogical diagrams. As for extensions, we not only study several metalogical decorations of larger and less widely known Aristotelian diagrams, but also consider metalogical decorations of another type (...) of logical diagrams, viz. duality diagrams. At a more fundamental level, we present a unifying perspective which sheds new light on the connections between new and existing metalogical diagrams, as well as between object- and metalogical diagrams. Overall, the paper studies two types of logical diagrams and four kinds of metalogical decorations. (shrink)

The massive increase of data generated by heterogeneous sources requires the development of computer tools enabling their semantic interoperability. Applied ontologies aim at fulfilling such needs. We will show in this article the central role that philosophical ontology can play for applied ontology, with a focus on biomedical ontologies; and reciprocally, how applied ontology can enlighten some classical issues in philosophical ontology, by considering the following question: Is disease a natural kind?

We will present the main characteristics of the decorative scheme from throne room in the palace of the Neo-Assyrian king Ashurnasirpal II, whose reign extended from 883-859 BC, located in the ancient city of Kalhu, now north Iraq. We consider decorative scheme to be the presence of images and texts in an architectural setting. We believe that the creation of the decorative scheme may be in some way linked to political projects, and therefore, it would be an expression of the (...) royal ideology and rhetoric. Throughout the analysis of the decorative scheme, aided by textual and material sources, we will try to put into evidence the main aspects of the imperial policy in vigour. (shrink)

The Decoration on the Cult Chapel Walls of the Old Kingdom Tombs at Giza: A New Approach to Their Interaction. By Leo Roeten. Culture & History of the Ancient Near East, vol. 70. Leiden: Brill, 2014. Pp. lix + 436, illus. $218.

Fragments of painted plaster found in the destruction layer of three first floor rooms in the House of Seals and of one first floor room of the House of the Sword had broken from the ceiling. They allow the restoration of the schema in the room of the House of the Sword and of two of the rooms in the House of Seals, the latter in colour. Composed of bands surrounding a quadrangular field, these décorations, evoking carpets stretched on the (...) ceiling, are richer (costly pigments, gold leaf) and more complex (some fifteen motifs) than those in tombs of the same period, which adopted the same « carpet » composition and which borrowed from the same repertoire, often confirmed by the textiles. Since we know of no other ceiling decoration in habitation rooms, it is unwise to contrast the exuberance of these ceilings with the tomb ceilings. The room that could not be restored had moreover a much more perfunctory decoration. (shrink)

This first part, compiled from a catalogue of documents whose chronology has been reconsidered, is devoted to roofs of marble and limestone. The second part, on terra-cotta roofs, will appear in the Actes du Colloque "Constructions publiques et programmes édilitaires du II s. av. au Ier s. ap. J.-C. "Athènes, EFA, mai 1995. The principal traditions survive until the beginning of the empire, and the tendencies that had already begun to appear in the 3rd c. (disappearance of the cyma reversa (...) and vegetal acroteria with multiple stems) are confirmed. The innovations, revivals (relief anthemia on sloping simas) or creations (antefixes) are common enough, but sporadic. In general, uniformity is allied to restraint, and roof decoration undergoes fewer transformations than do other parts of the buildings. The reign of Augustus is marked by some manifestations of classicism, either strict (Gate of Athena Archegetis) or eclectic (cyma scrolls), and by the restrained accession of Roman influences and models, more visible in the colony of Corinth (Captives' Façade, Babbius Monument) than at Athens. The iconographie symbols are distinct (Lycosoura and Babbius Monument acroteria); the decorative programmes are diluted in the tradition which they reinforce (Athens), or derive from an imported repertoire, but are not numerous (Corinth). (shrink)

Arthur Applbaum a nommé éthique adversative la branche de l’éthique professionnelle qui cherche à justifier la moralité des rôles et des pratiques qui permettent aux acteurs d’avoir certains comportements pourtant interdits par la moralité ordinaire. Applbaum considère qu’aucun des différents arguments mis de l’avant par les défenseurs de l’éthique adversative ne justifie de tels écarts de la moralité ; les institutions adversatives et les rôles qu’elles génèrent ne peuvent créer de permissions morales exceptionnelles. Cela découle d’une position métaéthique particulière qu’il (...) nomme positivisme institutionnel (practice positivism), et que l’on peut définir ainsi : la moralité ordinaire a une priorité délibérative sur les règles et les conventions des pratiques et des institutions sociales pour la simple raison que ces dernières sont dépourvues de toute force morale. Cet article cherche à défendre l’éthique adversative contre les critiques d’Applbaum. (shrink)

One of the important theological issues for ancient and medieval thought was to account for the existence of evil. Augustine provided an aesthetic explanation: evil exists for contrast, to let the good stand out more prominently. Thus, just as a painting that uses both dark and bright colors, the universe that contains both good and evil is beautiful as a whole. The argument was debated in the twelfth and thirteenth centuries. Alexander of Hales, as well as the Franciscan tradition in (...) general, strongly supported the Augustinian position. The article discusses a previously unknown debate between Albert the Great and Bonaventure about this issue and suggests that Bonaventure is defending his fellow-Franciscan Alexander. (shrink)

The article is devoted to the analysis of the concept of the game and its presence in creative activity. The gameplay is presented as an important part of human life. The presence of both elements in a person's work shapes him as a "creative" and "creating" entity. The introduced characteristics are analyzed from the point of view of the historical context, where the concepts of a creative person and a person playing are equated to each other. Their similarity is established (...) on the basis of the description of the signs of the game revealed at the beginning of the XX century. Game and art are considered abstractly from a specific cultural background, as functions that organize a person and preserve an abstract character. The features of the game highlighted in the article are given as evidence that plastic art stores it at its core as well as musical art. Their division within the cult and myth has led to the question of whether there is a game in art. The solution to this question lies in the field of the role of the participant in the game. Analysis from the point of view of the roles of the "creator" and "observer" allows us to uncover misconceptions about applied art and its game function.The findings showed that the position of the "observer" does not always allow you to see a complete picture of the process of plastic creativity. Due to the secrecy of most of the activity in the inner world of the artist, the observer cannot see the mechanical work of the gameplay. On this basis, he concludes about the insufficiency of plastic art. Analysis from the position of a creative person, on the contrary, indicates the full compliance of applied arts with the gameplay. On this basis, it is indicated that the game is not only an abstract concept that characterizes a person's life, but also the main component of any creative process. (shrink)

In the place of an introduction to part 5 of the Common Knowledge symposium on forms of quietism, the journal's editor and one of its longtime columnists discuss, in dialogue format, the case of Thomas More. Could he have evaded martyrdom at the hands of Henry VIII and Thomas Cromwell? One discussant argues that More could not have done so without contemptibly abandoning his principles and surrendering fully to despotism. The other discussant disagrees, suggesting that More had to abandon some (...) of his principles one way or the other—in resisting despotism, however quietly, More did serious harm to his wife and daughter, to the European humanist movement, and to the cause of English Catholics. (shrink)

Wittgenstein n'a eu de cesse de critiquer la distinction entre géométrie pure et géométrie appliquée. Cette distinction a été notoirement défendue par les positivistes logiques qui, dans le cadre d'une théorie renouvelée de l'a priori, entendaient marquer une séparation nette entre les mathématiques (systèmes formels non interprétés) et la physique (systèmes interprétés, dotés d'une signification factuelle ou empirique). Les raisons de ce partage perdent leur évidence si l'on envisage la géométrie en action, comme une pratique où les règles ne (...) peuvent pas être considérées indépendamment des « coups » qu'elles règlent effectivement. Cette conception « syntaxique » de la géométrie éclaire la signification réelle du « conventionnalisme géométrique » attribué à Poincaré ; elle fait comprendre du même coup les distorsions introduites par les interprétations qui se sont appuyées de façon implicite ou explicite sur la distinction entre le pur et l'appliqué. (shrink)

Lorsque l’on s’interroge sur l’éthique du numérique, deux approches sont possibles. La première consiste à la considérer comme une éthique appliquée, une branche de l’éthique générale. Les principes éthiques généraux nous donneraient la capacité de discerner le bien et le mal ; les appliquer au numérique nous permettrait ainsi d’expliciter, à partir de ces principes, des normes de comportements dans ce domaine particulier. Mais cette approche ne prend pas en compte le fait que les principes éthiques puissent découler des (...) conditions concrètes de leurs applications. Nous pouvons donc considérer une seconde approche, qui consisterait à partir de l’analyse du domaine du numérique pour fonder sur ses caractéristiques la réflexion morale. Par conséquent, l’éthique du numérique ne serait pas une éthique appliquée, mais une éthique première. Cet article tente de poser les bases pour une réflexion sur l’éthique du numérique qui prendrait en considération les changements de culture et de valeurs engendrés par les nouvelles technologies. (shrink)

Publication de deux poèmes byzantins du 12ème s. attribués à Théodore Prodomos, qui fournissent un certain nombre de renseignements sur les tentes des camps d'hiver des Comnène, et en particulier sur celle de la maison d'Irène la Sevastokratorissa. Cette étude mène l'auteur à un commentaire historico-artistique des éléments décrits: il compare d'abord ceux-ci avec l'art des 11ème et et 12ème s., et particulièrement avec l'art profane, puis il s'interroge sur l'authenticité des descriptions par rapport aux figures de rhétorique employées dans (...) ces textes. (shrink)

Feminist scholarship has increasingly turned towards the ocean as a conceptual apparatus in which to think through the complex philosophical and ethical dilemmas of the Anthropocene. Responding to the ebbs, flows and transformations of the oceanic turn, our article outlines our interactions with four decorator crabs. It begins by situating our experience of thinking-with these crabs as a feminist practice of care within the conceptual context of the ocean. Our article then draws on the knowledge that arose out of our (...) fertile entanglements with the crabs to propose that: 1) the aquarium, with its colonial histories of subjugation, is a fertile space to re-image human–aquatic relationalities, revealing the fallacy of human control over ‘nature’ and emphasising the agency of marine worlds; 2) Stacy Alaimo’s concept of trans-corporeality is a powerful way to think through the consequences of an acidifying ocean, both for ourselves and for our shelled companions; and 3) remediation is a radical approach to taking seriously the materiality of watery worlds. The objective of the article is to craft a practice of material feminism that entangles our more-than-human bodies to learn-with decorator crabs. In doing so, we show that the aquarium is a potent space of transformation that allows us to imagine new and distinctly feminist entanglements that dismantle hierarchies. We show that thinking-with the materiality of marine worlds is a series of remediations, both material and discursive, that dissolve the boundaries between entities, creating an embodied environmental ethics that is necessary as a feminist challenge to the Anthropocene. (shrink)