El objetivo fue examinar el valor del ocio lúdico y cultural compartido entre abuelos y nietos para el bienestar de ambas generaciones. Se utilizaron técnicas cuantitativas -cuestionario ad hoc administrado a 1080 estudiantes de primaria- y cualitativas-2 grupos de discusión-. Las actividades lúdicas y culturales fueron preferentesen el ocio compartido, practicándose más con las abuelas. Como aportacionesdestacaron el incremento de la comunicación, la diversión, el aprendizaje mutuo y elbienestar afectivo. La práctica de ocio cultural y lúdico intergeneracional se asociópositivamente con (...) la valoración de una mejor relación entre nietos y abuelos. (shrink)

El objetivo de este artículo es describir la percepción de riesgo y los factores de protección y de riesgo frente al consumo de sustancias psicoactivas legales e ilegales en estudiantes de la Universidad de Boyacá. Es un estudio cuantitativo y descriptivo de corte transversal, para el cual se tomó una muestra de 573 estudiantes que fueron seleccionados mediante muestreo estratificado probabilístico. El instrumento utilizado fue la encuesta sobre consumo de drogas, factores y percepción de riesgo en estudiantes universitarios (CODEU) diseñado (...) por Beverido, Salas, De San Jorge, Pavón, Blázquez, Gogeascoechea y Cruz (2012), que consta de 73 preguntas. Este instrumento fue validado y obtuvo un alpha de Cronbach de 0.787. Los hallazgos muestran que entre los factores protectores se encuentran: adecuadas relaciones familiares y practicar un deporte, como factores de riesgo se identifican principalmente: la permisividad social y las construcciones de reconocimiento social presentes ante el consumo de sustancias legales. De las sustancias ilegales, la marihuana es la que se percibe como de menor riesgo frente a la cocaína, el bazuco, los inhalantes y la heroína. (shrink)

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Introduction to the Special Issue of the Journal of Agricultural and Environmental Ethics from EURSAFE 2010 Content Type Journal Article Pages 1-4 DOI 10.1007/s10806-012-9390-2 Authors Leire Escajedo San-Epifanio, Department of Constitutional Law and History of Political Thought, Faculty of Social Sciences and Communication, University of the Basque Country, Bilbao, Spain Mickey Gjerris, Faculty of Science, Institute of Food and Resource Economics, University of Copenhagen, Copenhagen, Denmark Journal Journal of Agricultural and Environmental Ethics Online ISSN 1573-322X Print ISSN 1187-7863.

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

An l-hemi-implicative semilattice is an algebra $$\mathbf {A} = $$ A= such that $$$$ is a semilattice with a greatest element 1 and satisfies: for every $$a,b,c\in A$$ a,b,c∈A, $$a\le b\rightarrow c$$ a≤b→c implies $$a\wedge b \le c$$ a∧b≤c and $$a\rightarrow a = 1$$ a→a=1. An l-hemi-implicative semilattice is commutative if if it satisfies that $$a\rightarrow b = b\rightarrow a$$ a→b=b→a for every $$a,b\in A$$ a,b∈A. It is shown that the class of l-hemi-implicative semilattices is a variety. These algebras provide (...) a general framework for the study of different algebras of interest in algebraic logic. In any l-hemi-implicative semilattice it is possible to define an derived operation by $$a \sim b := \wedge $$ a∼b:=∧. Endowing $$$$ with the binary operation $$\sim $$ ∼ the algebra $$$$ results an l-hemi-implicative semilattice, which also satisfies the identity $$a \sim b = b \sim a$$ a∼b=b∼a. In this article, we characterize the commutative l-hemi-implicative semilattices. We also provide many new examples of l-hemi-implicative semilattice on any semillatice with greatest element. Finally, we characterize congruences on the classes of l-hemi-implicative semilattices introduced earlier and we characterize the principal congruences of l-hemi-implicative semilattices. (shrink)

One of the most debated questions in psychology and cognitive science is the nature and the functioning of the mental processes involved in deductive reasoning. However, all existing theories refer to a specific deductive domain, like syllogistic, propositional or relational reasoning.Our goal is to unify the main types of deductive reasoning into a single set of basic procedures. In particular, we bring together the microtheories developed from a mental models perspective in a single theory, for which we provide a formal (...) foundation. We validate the theory through a computational model (UNICORE) which allows fine‐grained predictions of subjects' performance in different reasoning domains.The performance of the model is tested against the performance of experimental subjects—as reported in the relevant literature—in the three areas of syllogistic, relational and propositional reasoning. The computational model proves to be a satisfactory artificial subject, reproducing both correct and erroneous performance of the human subjects. Moreover, we introduce a developmental trend in the program, in order to simulate the performance of subjects of different ages, ranging from children (3–6) to adolescents (8–12) to adults (>21). The simulation model performs similarly to the subjects of different ages.Our conclusion is that the validity of the mental model approach is confirmed for the deductive reasoning domain, and that it is possible to devise a unique mechanism able to deal with the specific subareas. The proposed computational model (UNICORE) represents such a unifying structure. (shrink)

Recent years have witnessed an escalation in corporate social reporting (CSR) by UK companies (Gray, Kouhy and Lavers 1995). Whilst some elements of CSR reporting are required by law, much of it represents voluntary reporting. By investigating the non‐mandatory reporting of two aspects of social responsibility, corporate community involvement (CCI) and environmental impact, this paper seeks to explore why companies choose to make such disclosures. It specifically asks whether companies are primarily motivated by the strategic need to manage their reputation (...) and legitimacy rather than by the recognition of their ethical accountability, which is the stated purpose of reports produced by cutting edge companies (Clarke 1998). (shrink)

Esa rareza que llamamos conciencia, lo más misterioso que hay en el universo, procedería de darse en ella la conjunción de dos cosas totalmente distintas: por un lado, el acto de referirse a algo y ese algo a lo cual se refiere. A esta forma de relación es a lo que tradicionalmente se ha denominado “intencionalidad” de la conciencia.

In contemporary historical studies, Peano is usually included in the logical tradition pioneered by Frege. In this paper, I shall first demonstrate that Frege and Peano independently developed a similar way of using logic for the rigorous expression and proof of mathematical laws. However, I shall then suggest that Peano also used his mathematical logic in such a way that anticipated a formalisation of mathematical theories which was incompatible with Frege’s conception of logic.

E. San Juan Jr. examines Peirce’s discourses on semiotics, ethics, and aesthetics and suggests their analogies with the radical critiques of Marx and other progressive trends.

The debate about Ortega’s relation to phenomenology has been continuous since the eighties of the last century. Before this date, Ortega’s manifestations that he had abandoned phenomenology at the same moment he came to know it were understood literally, without scrutinising other manifestations of his that he had made on phenomenology, or that his philosophy is similar to that of Husserl’s final works. Both manifestations seek to question the previous ones. The text clarifies first the meaning and importance of this (...) polemic for Spanish philosophy, deeply influenced by that of Ortega’s, and, secondly, I will set out what are the fundamental phenomenological concepts of Ortega’s philosophy. / El debate sobre la relación de Ortega con la fenomenología ha sido continuo desde los años ochenta del siglo pasado. Antes de esta fecha, las manifestaciones de Ortega de que había abandonado la fenomenología en el mismo momento que la conoció, fueron tomadas al pie de la letra, sin examinar otras manifestaciones que había hecho sobre la fenomenología, o la de que su filosofía es similar a la de los últimos trabajos de Husserl. Ambas manifestaciones buscan cuestionar las anteriores. El texto aclara en primer lugar el significado y la importancia de esta polémica en la filosofía española, profundamente influenciada por la de Ortega, y, en segundo lugar, se expondré cuáles son los conceptos fenomenológicos fundamentales de la filosofía de Ortega. (shrink)

Los cuidados paliativos son una forma de atención integral del paciente, considerando su carácter antropológico y ontológico, como un ser biopsicosocioespiritual, en donde la muerte y el sufrimiento son características que lo definen y lo separan de otra especie. Los principios bioéticos nos dan una aproximación para entender el porqué es importante atender al paciente desde todos los ámbitos, más allá de la intención curativa. Nos permite visualizar la verdadera meta de los cuidados paliativos.

We propose here to analyze Patočka’s dialogue with Merleau-Ponty and Maine de Biran with regard to the reciprocal implication of the body and existence. Patočka’s gesture seeks to discover the condition of existence and its effectiveness, named by the concept of flesh for Merleau-Ponty. What is the meaning of existence as constitutive flesh? The analysis will consist of three parts. The first part of the article presents the meaning of embodiment characterized by Merleau-Ponty in the analysis of the experience of (...) the body as a sexed being. In the second part, we will analyze the corporeal movement that shows existence in its specificity. In the third and final part, we will analyze the original relationship of subjectivity to corporeal movement through Patočka’s reading of Maine de Biran. (shrink)

Dans la littérature arabe médiévale, il existe une façon spécifique de mourir à cause d’une passion amoureuse, liée à la conception d’un amour chaste qui possède ses propres valeurs et qui ne peut s’exprimer que dans les limites de ses propres règles. Le présent article étudie les vers récités par les amants avant d’exhaler leur dernier souffle contenus dans une vingtaine de notices d’al-Wāḍiḥ al-mubīn fī ḏikr man ustušhida min al-muḥibbīn (ou Précis des martyrs de l’amour) de Mughulṭāy (m. 1361). (...) En analysant les situations dans lesquelles ces vers sont prononcés, nous avons essayé de comprendre s’il existe (ou non) une manière spécifique, déclinée au féminin, d’exprimer son émotion avant de mourir. (shrink)

This article examines the personal values and private motivations of legal practitioners who engage in the provision of legal services pro bono publico. It analyses the results of a 2014 empirical study of lawyers in Queensland, Australia, who regularly undertake pro bono work. The findings suggest strong moral and professional motivations for engaging in pro bono legal practice, as well as a distinct ‘community of practice’ of large law firms in forming and sharing sophisticated structures and approaches to addressing social (...) justice needs. However, the study also revealed a range of potential drawbacks arising from the dominance of the large law firm sector in this field. In addition, respondents from small firms and sole practitioners indicated the many ways in which they are excluded from the pro bono community. The article draws on US scholarship which urges us to think about the ‘content and impact’ of pro bono work to achieve real outcomes and to address the widening gap in provision of legal assistance created by decreasing government funding. We conclude that a particular sensitivity to the context of practice is needed in our conception of pro bono practice. (shrink)

These days paradoxes seem to be all around us, constantly produced under the impetus of new technologies but tending to dissolve no less quickly at the instigation of these same technologies. Everything that was considered durable (concepts, organizations, ideas) tends to shift towards immediacy, as if long-term memory can and must become instantaneous memory. New technologies, especially the various networks and mobile telephones, fit less and less into established frames of reference. They go so far as to break with the (...) very notion of a frame, and thus place us in a movement of continuous and chaotic knowledge that the author has dubbed rheomorphism. The Web is increasingly oriented towards interaction among users, and the creation of rudimentary social networks that can provide content that makes good use of the network effects, with or without real visual and interactive rendering of web pages. In this sense, current websites act more as points of presence, or Web portals centred on the user rather than on traditional websites that were more or less static pages of data. (shrink)