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.

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)

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..

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)

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)

Prodigiously influential, Jacques Derrida gave rise to a comprehensive rethinking of the basic concepts and categories of Western philosophy in the latter part of the twentieth century, with writings central to our understanding of language, meaning, identity, ethics and values. In 1993, a conference was organized around the question, 'Whither Marxism?’, and Derrida was invited to open the proceedings. His plenary address, 'Specters of Marx', delivered in two parts, forms the basis of this book. Hotly debated when it was (...) first published, a rapidly changing world and world politics have scarcely dented the relevance of this book. (shrink)

An introduction to Derrida's contribution to literary studies, comprising much of Derrida's work on writers such as Shakespeare, Mallarme, Joyce and Kafka, with an introductory essay on deconstruction.

The essays in this volume commemorate the 70th anniversary of Jacques Maritain's Pour la Justice, in which the French Thomist and future drafter of the Universal Declaration of Human Rights grappled with the moral, political, and religious challenges facing Europe in the aftermath of World War II. During this time Maritain reflected on humanism, Christian philosophy, the relation between freedom, religion and politics, and increasingly, on education. Several scholars reflect on the historical impact of Maritain's own writings during World (...) War II, Vatican II, and the Spanish Civil war. In other sections, contemporary Thomists suggest ways a resurgent Thomism can engage with the pressing issues of our own day. Essays on Thomistic ethics address problems in bioethics, the philosophy of love, and the foundations of Natural Law, while others tackle perennial problems in metaphysics and epistemology, such as the problem of free will, subjectivity, and the role of creative intuition in aesthetics. Still other essays apply Maritain's work on education to current challenges facing religious universities today. The contributors to this volume include: Noel Adams, Florian Michel, Sr. Anne Frances Ai Le, Brian Kemple, Stephen Chamberlain, Walter Schulz, Francisco Eduardo Plaza, James Jacobs, John Dunaway, Greg Kerr, Megan Furman, Karen Chan, Justin Gable, Federico Tedesco, Michael Torre, Richard Schenk, OP, and Gregory Reichberg. (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)

Fifty years ago when Jacques Hadamard set out to explore how mathematicians invent new ideas, he considered the creative experiences of some of the greatest thinkers of his generation, such as George Polya, Claude Le;vi-Strauss, and Albert Einstein. It appeared that inspiration could strike anytime, particularly after an individual had worked hard on a problem for days and then turned attention to another activity. In exploring this phenomenon, Hadamard produced one of the most famous and cogent cases for the (...) existence of unconscious mental processes in mathematical invention and other forms of creativity. Written before the explosion of research in computers and cognitive science, his book, originally titled The Psychology of Invention in the Mathematical Field , remains an important tool for exploring the increasingly complex problem of mental life. The roots of creativity for Hadamard lie not in consciousness, but in the long unconscious work of incubation, and in the unconscious aesthetic selection of ideas that thereby pass into consciousness. His discussion of this process comprises a wide range of topics, including the use of mental images or symbols, visualized or auditory words, "meaningless" words, logic, and intuition. Among the important documents collected is a letter from Albert Einstein analyzing his own mechanism of thought. (shrink)

Volume 20, Issue 8, August 2020, Page 101-104.

Rassemble 15 textes de J. Derrida consacrés à la mort et au deuil, souvent à l'occasion de la mort de ses amis : Roland Barthes, Michel Foucault, Gilles Deleuze, Maurice Blanchot, etc..... P.-A. Brault et M. Naas analysent la logique des textes et élaborent la question d'une politique du deuil.

COVID-19 has disproportionately affected ethnic minorities and migrants, not only through an increased risk of infection and death (Pan et al. 2020), but also through experiences of harassment, mar...

Boycotts are among the most frequent forms of consumer expression against unethical or egregious acts by firms. Most current research explains consumers’ decisions to participate in a boycott using a universal cost-benefit model that mixes instrumental and expressive motives. To date, no conceptual framework accounts for the distinct behavioral motives for boycotting though. This article focuses on motivational heterogeneity among consumers. By distinguishing two stable behavioral models—a self-regarding type and a strongly reciprocal type—we introduce the notion of strong reciprocity to (...) the boycott literature. We argue that the presence of strongly reciprocal consumers can enhance boycott success. First, in interactions with the target firm, strongly reciprocal consumers perceive higher levels of egregiousness and are more willing to engage in boycotting behavior, even in unfavorable strategic conditions, which provides a stable basis for boycotting. Second, in interactions with self-regarding consumers, strongly reciprocal consumers are willing to sanction those others, according to whether they participate in the boycott, which increases overall participation in and the likelihood of success of a consumer boycott. These findings have implications for further research, as well as for firms, nongovernmental organizations, and boycotters. (shrink)

This remarkable collection contains Isaiah Berlin's appreciations of seventeen people of unusual distinction in the intellectual or political world, sometimes both.

Jacques Derrida’s Cinders is among the most remarkable and revealing of this distinguished author’s many writings. White Derrida customarily devotes his powers of analysis to exacting readings of texts from Plato and Aristotle to Freud and Heidegger, readers of Cinders will soon discover that here Derrida is engaged in a poetic self-analysis. Ranging across his numerous writings over the past twenty years, Derrida discerns a recurrent cluster of arguments and images, all involving in one way or another ashes and (...) cinders. First published in 1982, revised in 1987, and printed here in a bilingual edition, Cinders enables readers to follow the development of Derrida’s thinking from 1968 to the present as it defines itself as a persistent questioning of origins that invariably leads to the thought of ash and cinder. Written in a highly condensed poetic style, Cinders reveals some of Derrida’s most probing etymological and philosophical reflections on the relation of language to the human. It also contains some of his most essential elaborations of his thinking on the feminine and on the legacy of the Holocaust in contemporary poetry and philosophy.Uniquely accessible to readers who have only recently begun to read Derrida and essential for all those familiar with Derrida’s work, Cinders is an evocative and thoughtful contribution to our understanding of deconstruction. (shrink)

In Verfassungslehre, Carl Schmitt spells out the radical implications of his own analysis in Der Begriff des Politischen of the concept of the political. He argues in this respect that the political component of modern constitutions, which is suppressed by liberal thinking through its privilege of the rule of law, is the most important component of these constitutions. The political component refers essentially to the form of the political unity of a people. In showing the priority of the political component, (...) Schmitt inter alia insists on drawing a distinction between the constitution and constitutional laws, the resurrection of the concept of sovereignty, understanding equality as first of all and necessarily implying an inequality in respect of those who are excluded from the political unity, and on the subjection of freedom to the political component of the constitution. What would the implications be for constitutional theory if one were to take seriously Derrida’s deconstruction of Schmitt’s concept of the political in Politiques de l’amitié? This essay takes the first tentative steps in this direction, by exploring in detail Derrida’s analysis as well as the new structure of the political that comes to the fore in this text. (shrink)

This paper aims to show that the ethical justifications and the processes for requiring consent for interventional research or treatment are different to requiring consent for the disclosure of patient or subject information. I will argue that these process and theoretical differences are sufficient to view “consent” in the two situations as different concepts and suggest that the phrase “permission to disclose” would be more appropriate in the information disclosure situations.

Overcoming Uncertainty in Ancient Greek Political Philosophy makes an historical and theoretical contribution by explaining the role of opinion in ancient Greek political philosophy, showing its importance for Aristotle’s theory of deliberation, and indicating a new model for a deliberative republic. Currently, there are no studies of opinion in ancient Greek political theory and so the book breaks new historical ground. The book establishes that opinion is key for the political theories of Plato, Aristotle, and the Stoics because each sees (...) uncertainty as a problem that needs to be overcome if one is to establish a virtuous polity. Since they have different notions of the nature of the uncertainty of opinion, they develop very different political strategies to overcome it. The book explains that Plato’s and the Stoics’ analyses of uncertainty support oligarchy and monarchy, respectively, and that theoretical support for deliberate politics requires a more nuanced understanding of uncertainty that only Aristotle provides. (shrink)

With this timely commitment, Jacques Bidet unites the theories of arguably the world's two greatest emancipatory political thinkers. In this far-reaching and decisive text, Bidet examines Marxian and Foucauldian criticisms of capitalist modernity. For Marx, the intersection between capital and the market is crucial, while for Foucault, the organizational aspects of capital are what really matter. According to Marx, the ruling class is identified with property; with Foucault, it is the managers who hold power and knowledge that rule. Bidet (...) identifies these two sides of capitalist modernity as 'market' and 'organization,' showing that each leads to specific forms of social conflict; against exploitation and austerity, over wages and pensions on the one hand, and against forms of 'medical' and work-based discipline, control of bodies and prisons on the other. Bidet's impetus and clarity however serve a greater purpose: uniting two souls of critical social theory, in order to overcome what has become an age-long separation between the 'old left' and the 'new social movements.'. (shrink)

The Bible as a literary entity is a product of the exile.. .. The record of the revolutions of the human spirit that took place during those years.

Born in Posen in 1905, Jean Gebser came from an old Franconian family domiciled in Thuringia since 1236. A nephew of German chancellor von Bethmann-Hollweg, he was a descendant on his mother's side of Luther's friend Melanchthon. He was educated in Breslau, Konigsberg, Rossleben, and at the University of Berlin. In 1929 Gebser emigrated to Italy and subsequently lived in Spain where he was attached to the Ministry of Education of the Spanish Republic. From 1937-1939 he lived in Paris in (...) the circle which included Picasso, Andre Malraux, Paul Eluard, and Louis Aragon. In 1939 he made his permanent home in Switzerland where he became a citizen in 1951. For many years Gebser was Lecturer at the Institute of Applied Psychology in Zurich and was later appointed honorary Professor of Comparative Studies of Civilization at the University of Salzburg, Austria. For his many publications, including books on Rilke, his friend Federico Garcia Lorca, recent developments in the sciences, East-West relations, evolution, and twentieth century civilization and its antecedents, Gebser received several prizes, including a share of the German Schiller prize, the literary award of the Esslingen Artist's Guild, the Koggen prize of the City of Minden, and the literary award of the City of Berne. He died in Berne on May 14, 1973.". (shrink)

In his essay ‘Critique of Violence’, Walter Benjamin subjects violence to a critique in order to establish the criterion for violence itself as a principle. His starting point is the distinction between law-positing and law-preserving violence. However, these are for him inseparable and subjected to the law of historical change: the history of the law is nothing but the dialectical rising and falling of legal orders. Benjamin’s analysis of legal violence and his criticism of parliamentary democracies, this article advances, should (...) be related to the critical analysis of the possibilities for alternative politics in contemporary democratic rule of law states, as those advanced by Bernard Noël, Philippe Lacoue-Labarthe, Jean-Luc Nancy and Jacques Rancière. For Benjamin, it is only law-destroying divine violence, whose principle is justice, not power, that is able to break this circle and open up a new era. Divine violence is, however, not only a provocative but also an extremely problematic, even dangerous, concept, as Jacques Derrida, among others, has claimed. This article considers, therefore, whether the concept of divine violence has any real political relevance in the contemporary era. (shrink)

Le chez-soi a toujours été travaillé par l'autre, et par l'hôte, et par la menace de l'expropriation. Il ne s'est constitué qu'à l'ombre de cette menace. Néanmoins, on assiste aujourd'hui à une expropriation nouvelle, à une déterritorialisation, à une délocalisation, une dissociation si radicales du politique et du local, du national, de l'Etat-national et du local, que la réponse, il faudrait dire la réaction, cela devient - je veux être chez moi, je veux être chez moi, je veux être chez (...) moi enfin, avec les miens, auprès de mes proches. Cela n'est même pas une réponse d'ailleurs, ce n'est pas une réactivité secondaire qui vient en quelque sorte compenser, réagir après-coup, non, c'est le même mouvement. Il appartient à la constitution du propre et relève de cette loi d'ex-appropriation dont je parlais plus haut - pas d'appropriation sans possibilité d'expropriation, sans la confirmation de cette possibilité. Prenons l'exemple de la télévision. La télévision introduit dans le chez-moi l'ailleurs, et le mondial, à chaque instant. Je suis plus isolé, plus privatisé que jamais, avec chez moi l'intrusion en permanence, par moi désirée, de l'autre, de l'étranger, du lointain, de l'autre langue. (shrink)

Der Beitrag diskutiert die Entwicklung des Konzepts der »Nachträglichkeit« vom Beginn bei Freud über seine Wiederentdeckung durch Lacan und Laplanche bis heute. Ausgehend von einer Befragung seines Schicksals in der Übersetzung in und zwischen den Sprachen wird nach dem Ort des Konzepts in der psychoanalytischen Behandlung gefragt.