La situation desastreuse que vit le continent africain sur plusieurs plans est, en grande partie, la consequence de l'instabilite et de l'incoherence de son referent paradigmatique, contenu dans le binome justice-solidarite. A quels facteurs cette situation tient-elle, et a quels obstacles l'Afrique est-elle confrontee dans son aspiration a devenir un espace de plus de droit, de plus de justice sociale et de solidarite? Par ailleurs, de quels modeles peut-elle s'inspirer pour realiser ce projet et defier toute velleite d'afro-pessimisme?<BR> Ces questions (...) evoquent non seulement un probleme de vision de la societe, mais aussi de l'homme tel que le soulignent John Rawls et Philippe Van Parijs. Cet ouvrage s'efforce de degager cette double vision et d'en legitimer la pertinence pour la nouvelle societe africaine a construire moyennant un dispositif contractuel.". (shrink)

The concept of a salience map has become important for the development of theories of visual attention and saccade generation. Recent studies have shown that the frontal eye fields have all of the characteristics of a salience map.

Emotions are a core factor of learning. Studies have shown that multiple emotions are co-experienced during learning and have a significant impact on learning outcomes. The present study investigated the importance of multiple, co-occurring emotions during learning about human biology with MetaTutor, a hypermedia-based intelligent tutoring system. Person-centered as well as variable-centered approaches of cluster analyses were used to identify emotion clusters. The person-centered clustering analyses indicated three emotion profiles: a positive, negative and neutral profile. Students with a negative profile (...) learned less than those with other profiles and also reported less usage of emotion regulation strategies. Emotion clusters identified through spectral co-clustering confirmed these results. Throughout the learning activity, emotions built a stable correlational structure of a positive, a negative, a neutral and a boredom emotion cluster. Positive emotion cluster scores before the learning activity and negative emotion cluster scores during the learning activity predicted learning, but not consistently. These results reveal the importance of negative emotions during learning with MetaTutor. Potential moderating factors and implications for the design and development of educational interventions that target emotions and emotion regulation with digital learning environments are discussed. (shrink)

La révolution scientifique ou copernicienne apparait habituellement au penseur comme un événement imposant, complexe et problématique. Mais ce ne semble pas être le cas pour M. Raymond Montpetit. Vous n'avez, selon lui, qu'è y appliquer un regard dialectique on psychanalytique et le tour est joué. C'est ce que je retiens de l'allure et du biais de sa discussion de mon article sur la révolution en question.

L'objective principal de cette étude est d'observer comment certains des attributs evolutives essentiels de l'humanité, comme la criativité, l'imagination et la association, peuvent devenir une maladie dangereuse, à labri des ombres brumeuses de l'inteligence.

In this essay, I argue that rather than rejecting narcissism, the most appropriate response to contemporary egoism and individualism is a revised understanding of narcissism, one that acknowledges the deeply social nature of our selves by seeking to understand the ways in which we exist as individuals through others. I will call this form of narcissism “vulnerable narcissism.” Once we recognize the extent to which we are, as individuals, constitutively social, narcissistic investments in oneself can be recognized as investments in (...) particular social conditions that influence, sustain, or disadvantage us. (shrink)

On analyse deux tableaux fameux de Poussin – Paysage avec un homme tué par un serpent (National Gallery) et Apollon amoureux de Daphné (Louvre) – avant de confronter Poussin au Caravage. La thèse défendue est que les deux tableaux analysés illustrent la destitution de Narcisse, et que ce thème a, dans l’œuvre de Poussin, une signification non seulement psychologique et morale, mais encore proprement esthétique. C’est en effectuant une minutieuse et savante enquête qu’on résout de manière inédite l’élément énigmatique (...) contenu dans les deux tableaux et que, en suivant Louis Marin, on approfondit la comparaison de deux conceptions antagonistes de la représentation picturale. (shrink)

Chez Narcisse est un débit de boissons situé à l’entrée des Vosges méridionales. Sa particularité tient au fait qu’il comprend, depuis le milieu des années 1980, au fond du jardin, une salle de concert dite « punk ». Associant ainsi un bistrot qui s’ancre dans le temps quotidien du village et des événementiels qui sont des temps festifs, Chez Narcisse apparaît comme un espace « double » qui met l’accent sur la recherche d’indépendance et la culture en milieu (...) rural. Une monographie ethnographique réalisée sur ce lieu permet de mettre en lumière les conceptions du temps en jeu dans la culture punk « narcissienne ». Formalisé sous forme de « bulles », oscillant entre présent festif du concert, passé idéalisé et futur incertain, le temps punk ne repose pas sur une conception linéaire des événements. La question qui se pose est donc de savoir de quelle manière ces bulles temporelles sont exprimées et, au-delà, comment elles invitent à penser l’utopie et, parfois, la mise en place d’alternatives. (shrink)

Yemeni writer Ahmed Qāsim al-Arīqī, in addition to his profession as a pharmacist, is a writer who has made a name for himself in the country's literary field, especially in the last fifteen years. A prolific writer, al-Arīqī is the author of poetry collections as well as stories and novels that emphasise awareness of the traditional issues of the Yemeni people. He has published "Maḳāmāt al-'Arīḳī" (2006), "Ġalṭṭetu Ḳalem" (2012), "Qurāt al-S̱-S̱elj" (2017), "Ta'riyya" (2018), "Zurbet al-Yumnā" (2018), "Da'wat al-Ḥuḳūl" (2019), (...) "Zuhr al-Ġarām" and "Sīret al-Kūbī" (2022). His novel "Yawma Māta al-Shaytan" (The Day Satan Died) was published electronically by Hindāwī Publishing House in 2022. The novel, which is approximately 120 pages, is written in six chapters. There are eleven passages in the first and fourth chapters, thirteen in the second and sixth chapters, twelve in the third chapter, and eight in the fifth chapter. The novel is about the adventures of a member of the army named Marwan Naji, who was wounded in the war between the Houthi militia and the Yemeni army, and after nine months in a coma, opens his eyes in a perfect world dominated by biological and technological advances. Symbolising the treatment of selfishness and various narcissisms with advanced vaccines through the death of Satan, the author describes Marwan's adventures in his world, which he sometimes describes as the realm of the jinn, in a very simple language, while not failing to criticise reality in its various political, social and religious dimensions. In fact, Marwan's world of imagination and fantasy is the main story of the novel, but not the only one. The author also includes the stories of family members in Marwan's world of turmoil, destruction, massacre, war and victory, giving the reader the opportunity to compare both worlds. While his mother Gusoun, his wife Hamide and his daughter Fatma, who later got engaged in time after being widowed, are the female characters of his real world, Professor Mari and Mariana, one of his seven wives, are the other important characters of his imaginary world. Gusûn is a devoted mother who does not leave the bedside of her comatose son, prays for him day and night and tries to do everything she can for his recovery. Gusûn, who is listened to at home to a certain extent, scolds her grandchildren to prevent the breakup of her son's home because of inheritance, defends that the existing wealth still belongs to her son and reminds them that she will not hesitate to spend money for his recovery. Gusûn's daughter-in-law Hamide also takes care of her husband, who shows no signs of recovery. Hamide, who is not as patient as her mother-in-law, is also a jealous woman. On the other hand, although both of them display false religious tendencies that have no relation with real life, Gusûn is more prone to the superstitious approaches put forward and adopted in the name of religion. Fatma is also a widow who, although she has the will to take care of her children and live her life alone, has been engaged for a long time to her uncle's son Münir, who, like her, took part in anti-regime demonstrations and whose love she believes in. Fatma, who is more conscious than her grandmother and mother, is not alien to the issues that society complains about and often participates in women's movements organised against the government. Professor Mari, one of the two important characters belonging to Marwan's imaginary world, is a psychologist and the chief physician of a large hospital who treats jealousy, anger, lying and selfishness, which are considered dangerous viruses, with vaccines developed by scientists. Professor Mari, who is personally involved in Marwan's treatment, also chairs the committee that records his memory and projects all his memories on a giant screen. Mariana, on the other hand, monitors Marwan's behaviour and thoughts through a biological chip to control the effect of the vaccines given to him, criticises him through the tragic images projected on the screen and provides information that will facilitate his adaptation to his new world. In the article, in which the author's main published works are briefly introduced along with a broad summary of the novel, the social messages that an author, who is not indifferent to the realities of the geography he lives in, tries to give directly and indirectly with a language far from locality, are tried to be determined through the mentioned female characters. It is seen that the desire to become a single nation by making; love, brotherhood, friendship and peace dominant lies behind the author's novelisation of the dream of an ideal world symbolised by the death of Satan. (shrink)

Le tableau de Nicolas Poussin, Paysage avec un homme tué par un serpent (ou Les effets de la terreur), demeure énigmatique pour toute une critique qui oscille entre deux pôles : soit le tableau est mythologique, mais on ne sait pas à quelle histoire il renvoie (l’hypothèse de Cadmus n’étant guère soutenable) ; soit le tableau ne représente que les effets de la terreur, sans renvoyer à aucune histoire. La thèse défendue dans cet article est la suivante : tout en (...) représentant les effets de la terreur, le tableau renvoie à une histoire – non celle de Cadmus, mais celle de Narcisse, cet homme qui meurt près de la source qui le captive, prisonnier de l’amour vain qu’il se porte à lui-même. On se propose d’étayer cette thèse par la découverte de remarquables liens entre Narcisse et Python, non seulement à partir de l’œuvre poétique d’Ovide, mais encore à partir de l’œuvre picturale de Poussin. (shrink)

The works of Sade portray the corrupt and libertine practices at the time of Louis XV's despotic regime, invariably referring to the boudoir as a privileged place for the transformation of mind and body as well as for philosophical production. The actuality of Sade's thought lies in the fact that he reveals - as do modem trends - the narcissic constitution of subjectivity that, in its social-political aspect, leads to political conformism. This article aims at presenting Sade's thought as a (...) radical critique of social relationships, which lead to the rupture of Rousseau's social contract. His relentless doctrine becomes negative philosophy in that it supplies the foundations for the critique of instrumental reason. A pessimist regarding the course of social totality, Sade's theory points to human 'animality' as a possible means of transcending the artificiality of social relationships.As obras de Sade procuram retratar as práticas corruptas e libertinas presentes no regime despótico de Luís XV, apontando invariavelmente a "alcova" como lugar privilegiado de transformação do corpo e da mente e, ao mesmo tempo, de produção filosófica. A atualidade do pensamento de Sade revela-se no fato de colocar como tendencia da modernidade, a constituição narcísica da subjetividade que, em sua variante político-social, aparece sob a forma do conformismo político. Este artigo pretende apresentar o pensamento de Sade como urna crítica aos liames sociais, o que conduz à ruptura da idéia de pacto social formulada por Rousseau. A doutrina sem compaixão de Sade torna-se filosofia negativa na medida em que fornece os fundamentos da crítica à razão instrumental. Sendo pessimista quanto aos rumos do existente, a teoria sadiana aponta a "animalidade" humana como possibilidade de transcendencia da artificialidade dos laços sociais. (shrink)

L'omniprésence de l'image dans nos sociétés contemporaines, massivement régies par les médias visuels, - photographie, cinéma, télévision, internet - a bouleversé notre culture, longtemps fondée sur le primat de l'écrit. Cette révolution renoue cependant avec les assises les plus anciennes de notre culture où l'image, prise en charge par la peinture, le théâtre et les arts oratoires, était porteuse de savoir et d'émotion esthétique. Ce pouvoir de création et de communication de l'image a fait très tôt l'objet d'un examen critique (...) soucieux d'en dénoncer les dangers : force et forme d'attraction paroxystique, la fascination désigne assez bien ce péril et ces pièges. Platon, le premier, en instruit le procès tandis qu'Aristote s'efforce d'arrimer au logos la puissance imageante du théâtre. A l'âge classique, les Etats modernes établissent leur pouvoir par un contrôle croissant de l'image : J-M Apostolidès et L Marin ont rendu compte, pour la France, de la machinerie fascinatrice du "grand Roi", qui traverse les arts et l'imaginaire classiques. La littérature contemporaine inclut dans sa démarche réflexive cette méditation sur le pouvoir fascinant de l'image : l'oeuvre de Pascal Quignard en reprend et repense ainsi les figures paradigmatiques - Narcisse, Méduse, Médée. Examinant ce phénomène dans la peinture, la littérature et les arts du spectacle, cet ouvrage, transhistorique et pluridisciplinaire, est l'occasion d'un dialogue entre philosophes, littéraires, esthéticiens et historiens qui interrogent ici collectivement, en toute liberté critique, la fascination des images dans son ambivalence, rayonnante et aliénante. (shrink)

루이 라벨은 『자아(la conscience de soi)』에서 ‘인간의 의식’과 ‘자아’에 대해 다양하게 규정한 이후에, 『나르시스의 오류(L’erreur de Narcisse)』에서는 고대 희랍의 신화에 나오는 ‘나르시스’가 범한 오류를 실존주의자의 관점에서 분석하고 있다. 이 책에서 말하고 있는 나르시스의 오류는 다양한 관점에서 분석 가능하겠지만, 본 논문에서는 크게 4가지로 개념화 하여 분석하고 있다. 1) 정신으로서의 인간적 자아를 왜곡하는 오류, 2) 도덕을 부정하는 오류, 3) 존재론적 성실성을 외면하는 오류 그리고 4) 인간실존의 양면성에 대한 부정과 영적(정신적) 세계를 부정하는 오류가 그것이다. 이 같은 분석은 인간이란 본래 정신적인 존재로서 타자와의 (...) 관계성 중에 있으며 이 관계성을 통해 진정한 자아를 형성하는 존재임을 말해주고 있지만, 나르시스는 이 같은 인간 존재의 근본적인 조건과 본질에 대해 무지하였거나, 혹은 정신적인 게으름으로 인해 이를 부정하였다. 이 첫 오류가 그 이후 자신의 삶을 불가능하게 한 나머지 오류들도 순차적으로 발생하게 한 것이다. 따라서 나르시스의 오류는 현대사회가 보다 기계, 기술 문명과 물질만능주의에 접근해 있다는 차원에서 자아에 관한 현대인들의 오류를 은유적으로 보여주고 있다고 할 수 있다. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Harmony Between Rousseau’s Musical Theory and his PhilosophyJohn T. ScottRousseau is best known as the author of philosophic works, but he was a musician and musical theorist before he burst onto the European literary scene with his First Discourse. While he earned celebrity as an anti-philosophical philosopher, he continued to consider music as his primary vocation and avocation throughout his life. Rousseau testifies to the harmony between his (...) musical work and his philosophy in his Dialogues, where he explains that his musical writings and compositions are animated by the same feelings and ideas as all of his works—that they too are based on the principle of his “system” that “man is good although men are wicked.” 1 His mature musical theory not only incorporates his philosophy of human nature and development but also extends it through an examination of the role of the passions in human communication. Rousseau’s musical theory is an important, yet often overlooked, facet of his philosophy.The relationship between Rousseau’s musical theory and his philosophy as a whole has seldom been extensively analyzed. 2 His only widely known writing relating to music is the Essay on the Origin of Languages, but even that work has in general not received a full accounting because it has rarely been interpreted in light of his other musical writings. The Essay emerged out of both the Second Discourse and the contemporaneous musical polemics of the mid-1750s. The simultaneous elaboration of his “system” and his continued work on music was the context in which Rousseau’s mature musical theory developed. After an account of Rousseau’s pre-systematic musical writings and [End Page 287] a discussion of the development of his musical theory, I will turn to an examination of the Essay. Finally, I will conclude by discussing Rousseau’s novel aesthetic theory and its impact.Rousseau’s Presystematic Musical Writings“Jean-Jacques was born for music.” 3 Rousseau’s musical writings might be characterized as his attempt to account for his native love for music. In his Confessions he speaks of “the taste or rather passion for music” that he had almost from birth and says that it was while in Italy, after running away from Geneva at age sixteen, that his passion began to declare itself. 4 Rousseau increasingly indulged his love for music over the next several years, although six months in a choir school at about the age of seventeen was almost the only formal musical instruction he received. He acquired and painstakingly mastered Rameau’s Treatise on Harmony, and studied informally with a young organist with Italian training, recalling how he compared his friend’s “principles” to those of “my Rameau.” 5 At least in retrospect, then, Rousseau noted the contrast between French and Italian music that would later bring him into conflict with his youthful hero.Rousseau soon took up the profession of a music teacher and copyist, a trade to which he would return after abandoning philosophy. Copying music acquainted him with the difficulty of the ordinary visual system of notating music, and he therefore devised a numerical system. It was with his system of notation and a play, Narcisse, that Rousseau set out for Paris in 1741. He gained an audience for his “Plan Regarding New Signs for Music” (1742) at the Academy of Sciences, and while it was favorably received, the report of a select committee concluded that his system was not entirely new and was less practical in most respects than the ordinary system. 6 Rousseau was nonetheless convinced of his system’s utility and published it as the Dissertation on Modern Music (1743). This work contains a digression on musical expression where he explains that we are not “touched” by sounds themselves but by the harmonic relationships they have among them. He sends his reader to Rameau’s writings, where the source of musical expression is “sufficiently explained.” 7 In his mature musical writings Rousseau expounds a theory explicitly opposed to Rameau’s theory of musical expression.Several incidents in the next decade before the discovery of his “system” seem to have contributed to Rousseau’s subsequent break with Rameau. [End... (shrink)

Le Paysage avec un homme tué par un serpent, peint par Nicolas Poussin en 1648, a donné lieu, depuis celles de Félibien, Fénelon ou Diderot, à de multiples lectures, suggérant telle source poétique ou telle gravure pour rendre compte de l’identité du personnage mort ou de celle du serpent, sans qu’aucune de ces hypothèses paraisse décisive. Celle que propose Hélène Bouchilloux désigne Narcisse pour le personnage mort et Python pour le serpent : Poussin aurait mis en scène la « (...) destitution » de l’amour stérile en même temps que celle de l’idée erronée de la peinture incarnée par le Caravage. Cette hypothèse séduisante présente toutefois des difficultés méthodologiques, tant dans l’interprétation du texte d’Ovide que dans l’approche comparative de plusieurs toiles de Poussin, n’évitant pas le risque d’une surinterprétation. (shrink)

A travers la métaphore du " Narcisse " du Caravage, l'auteur nous retrace les dérives de la culture visuelle et numérique contemporaine, en nous livrant les principales matrices philosophiques, sociales et métapolitiques de l'" occidentalo-scopie ", à savoir le mental scopique de l'Occident hypermoderne, dans lequel s'est opéré depuis la Renaissance jusqu'à nos jours une vaste mutation du "regardant" collectif et individuel. Selon l'auteur, il s'agit bien ici de la grimace du regard "occidental" contemporain, à savoir l'image spéculaire et (...) déformante qui a de la sorte aliéné et soumis l'ensemble de l'épistémè de la modernité occidentale à une pulsion scopique généralisée. (shrink)

L'article compare le motif de la contemplation de sa propre image dans une surface réfléchissante chez Plotin avec des motifs semblables que l'on trouvenon seulement dans les récits mythologiques, mais aussi dans les doctrines cosmologiques des systèmes philosophiques, gnostiques surtout, qui sont à la fois proches de Plotin et concurrent, à l'égard de la philosophie plotinienne. En même temps, en analysant deux métaphores mythologiques, dont une se sert du motif de la réflexion dans le miroir (le mythe orphique du démembrement (...) de Dionysos) et l'autre de la réflexion dans l'eau (le mythe de Narcisse), l'article souligne les différences qui séparent la doctrine plotinienne de la descente de l'âme et celle de la chute de l'âme. (shrink)

L'article compare le motif de la contemplation de sa propre image dans une surface réfléchissante chez Plotin avec des motifs semblables que l'on trouvenon seulement dans les récits mythologiques, mais aussi dans les doctrines cosmologiques des systèmes philosophiques, gnostiques surtout, qui sont à la fois proches de Plotin et concurrent, à l'égard de la philosophie plotinienne. En même temps, en analysant deux métaphores mythologiques, dont une se sert du motif de la réflexion dans le miroir (le mythe orphique du démembrement (...) de Dionysos) et l'autre de la réflexion dans l'eau (le mythe de Narcisse), l'article souligne les différences qui séparent la doctrine plotinienne de la descente de l'âme et celle de la chute de l'âme. (shrink)