The particle internal clock conjectured by de Broglie in 1924 was investigated in a channeling experiment using a beam of ∼80 MeV electrons aligned along the 〈110〉 direction of a 1 μm thick silicon crystal. Some of the electrons undergo a rosette motion, in which they interact with a single atomic row. When the electron energy is finely varied, the rate of electron transmission at 0° shows a 8% dip within 0.5% of the resonance energy, 80.874 MeV, for which the (...) frequency of atomic collisions matches the electron’s internal clock frequency. A model is presented to show the compatibility of our data with the de Broglie hypothesis. (shrink)

What part should description play in coming to judgment? Questions about genre have become more important in religious ethics as many seek to reform “thin” models of ethical arbitration by recourse to artistic, literary, and historical descriptions in their texts. In this book discussion, I explore what the consequences would be of pursuing this reform by turning to social anthropology—a discipline that relies on extensive empirical descriptions. I do this by considering the anthropology of ethics: a movement that seeks, (...) for the first time, to devote systematic and sustained attention the moral lives of ethnographic informants. I focus on the ways that authors within this field attempt to arrive at more realistic portraits of the different ways societies play out the familiar ethical themes of freedom, responsibility, suffering and agency. Their work challenges religious ethicists to consider what ethical conversation across these differences would look like, and thus to reconsider the relationship between description and judgment in their work. (shrink)

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to (...) them are intended to serve. (shrink)

Verb tenses play an important role in managing deictic relations between the narrator, the audience and the events happening in the story world. Across languages, the Simple Past is considered the conventional story-telling tense, reflecting the prototypical deictic configuration of stories in which the narrator is positioned at some distance from the events unfolding in the story. The Simple Present, on the other hand, is considered a marked option for narration, assumed to automatically result in a shift to a subjective (...) perspective. This paper reports on an analysis of a corpus made up of Dutch fictional short stories, news reports and feature articles. The results suggest that conventions for use and interpretation of verb tenses in narrative contexts are in fact genre-dependent. In the news genres, the Simple Present tense dominated in narration. This did not automatically result in a subjective mode or narration, but was naturally used to express a default narration of story events that temporally overlap with the temporal deictic center of the communicative ground. These findings suggest that previous analyses of verb tenses in relation to narration reflect an over-generalization based on the situational characteristics of prototypical narrative genres such as literary fiction and personal anecdotes. (shrink)

A number of recent popular books about gender differences have drawn on the neuroscientific literature to support the claim that certain psychological differences between the sexes are ‘hard-wired’. This article highlights some of the ethical implications that arise from both factual and conceptual errors propagated by such books.

Cet article aborde la question du genre en relisant les choses à la lumière du développement psychique de la sexualité de l’être humain. La métapsychologie ne répond pas à la question de savoir comment le sexe vient aux uns et aux autres ni à celle de savoir s’il devrait exister une sortie de la binarité masculin-féminin. Car, pour la métapsychologie, la pulsion sexuelle, présente dès le début, se constitue pour chacun non seulement à l’aune des deux genres connus : (...) bisexualité psychique, mais également de manière multiple selon le sujet, son histoire. Tant au niveau de l’identité sexuée (masculine, féminine ou « autre ») que du choix d’objet (homosexuel, hétérosexuel ou asexuel) et que des moyens mis en œuvre pour la jouissance (autoérotisme, coït, satisfactions hallucinatoires), il n’y a pour la métapsychologie de fermeture d’aucune sorte, mais l’exact inverse : le champ de tous les possibles. (shrink)

What is unique about art genres? In this paper, I will show that genres are best understood as clusters of regulative rules for appreciation. Evaluation, interpretation, and other appreciative responses to a work of art are sensitive to how the work is categorised, and genres are the categories that play a normative role in this context. Genres as rules have social foundations and arise from a speech act that I distinguish from classification and call framing. Based on this account, I (...) will illustrate genre practices as social practices in which we declare and propose rules of appreciation to each other. (shrink)

Recent research has established that in his De secundis intentionibus, Hervaeus Natalis reacted to views of the modist thinker Radulphus Brito. Historians have noted several points of disagreement between Hervaeus and Radulphus, but I maintain more precision is needed. I argue that the core of the dispute is found in two points: first, a disagreement on what to call 'intention'; second, a disagreement regarding the process through which things lead to the formation of our universal concepts (genera, species, etc.). I (...) argue that this second point shows a profound shift regarding the root of universal concepts. (shrink)

Cet article s’attache à deux films représentatifs de l’« esthétique des décombres », Les Assassins sont parmi nous et Entre hier et aujourd’hui, pour analyser, du point de vue du genre, la présentation des objets légués par le nazisme. Les objets à l’écran sont compris comme des « événements tangibles » qui témoignent du bouleversement de l’ordre des choses dans l’Allemagne d’après-guerre, y compris celui de l’héritage de la confiscation et de l’« aryanisation » de l’espace allemand. Dans ces (...) films, un parallèle est établi entre le sentiment de culpabilité éprouvé par les hommes par rapport aux objets arrachés à une femme, victime, et le problème de dépossession (ainsi que son corollaire, le meurtre collectif) qui vient se mêler aux défis des relations de genre dans l’après-guerre. L’activité même de nettoyage et de remise en ordre est représentée comme une forme féminine de travail ; ces interventions physiques de la part des femmes sont aussi chargées de résoudre le problème posé par l’embarrassante présence des restes matériels du Troisième Reich. (shrink)

Comme les meilleures micro-histoires, Lutter “comme les mecs” d’Ève Meuret-Campfort s’appuie sur une étude de cas – une usine avec une main-d’œuvre exclusivement féminine – pour révéler ce que les théories sociales – ici du capital militant et de la conscience de classe – considérées dans leur universalité (implicitement masculine) ne peuvent pas révéler. Lutter “comme les mecs”, expression qu’Ève Meuret-Campfort emprunte à l’une des ouvrières, adopte une approche intersectionnelle, non pas p...

Les phénoménologies historiques et contemporaines ont analysé la sexualité (Sartre, Merleau-Ponty), l’expérience de l’erôs et du féminin (Levinas), le phénomène de l’érotisme (Michel Henry, Jean-Luc Marion) en prétendant rendre compte de la structure générale de cette expérience. Toutefois, ils adoptent implicitement, « normalement » le point de vue du sujet masculin et, qui plus est, le plus souvent, celui d’une hétérosexualité dite « normale ». Et ce, sans procéder à un examen critique de c...

Fans of ‘roguelike’ video games have long been engaged in an intense debate over what this genre label means, and how we should understand the task of thinking about it. This article argues that the attempt to define ‘roguelike’ known as the ‘Berlin Interpretation’ is an example of the ‘prototype theory’ of categorization in action, and considers the strengths and weaknesses of this type of categorization for understanding video game genres. Using examples from roguelike fan discourse, it shows how (...) the problem with the Interpretation lied in its privileging game mechanics as the salient features of games on which to ground its definition, where a more productive place to start would have been experience and skills, which can also be extrapolated from prototypical examples. (shrink)

Dès 1983, à l’occasion du colloque Une histoire des femmes est-elle possible? qui allait marquer le véritable départ de l’histoire des femmes en France, Alain Corbin soulignait la nécessité de se pencher aussi sur les « mentalités masculines », afin que puisse émerger une « histoire sexuée qui couple ses analyses ». L’auteur des Filles de noce resta longtemps peu entendu. Cette dernière décennie a pourtant vu une nette évolution s’amorcer, les masculinités françaises devenant peu à peu un ch...

Devenue mixte de façon très empirique depuis les années 1960, l’école est souvent mise en question pour son enseignement inégalitaire. L’auteure pose donc dans ce livre la question de la notion de l’égalité entre les sexes à l’école, une égalité qui se heurte à de fortes réticences provenant des traditions sociales et disciplinaires, des préjugés, des comportements hérités et même plus vraiment réfléchis. L’enjeu pédagogique, social et citoyen est majeur puisque, au-delà des savoirs, les manu...

Le livre de Françoise Thébaud, Écrire l’histoire des femmes, constitue une contribution importante à l’historiographie de la France et a reçu un accueil très favorable en 1998. Méditation, en premier lieu, sur l’évolution professionnelle de son auteure, le livre analyse en outre le développement de « l’histoire des femmes » et les débats théoriques et méthodologiques qui l’ont marqué. Cette nouvelle édition rend compte des développements jusqu’à l’année 2007 et met à jour la bibliographie. C...

The literary form De viris illustribus , first used by contemporaries of Cicero, enjoyed a widespread popularity in the Renaissance. The theme became so popular that the Florentine humanist Matteo Palmieri wrote that “history is nothing but the celebration of illustrious men.”1 During the second half of the fifteenth and first half of the sixteenth century, various Carthusians, Cistercians, Benedictines, Carmelites and Dominicans adopted the same title for institutional writings on their respective orders. Strangely enough, the Observant Franciscans, while engaging (...) in various types of institutional history around the same time, were more hesitant to adopt the title for such institutional .. (shrink)

This paper aims at clarifying some of the most common issues that legal translators have to face when dealing with the translation of private normative texts, such as contracts or wills, which naturally emerge as the consequence and expression of legal or juristic acts in the scope of private law, in Spanish and English. To comprehend the differences and subtleties regarding legal communication between the common law and the continental law countries (specifically the United States and Spain, respectively), we must (...) unveil some essential clues for their translation and application in the global scope of professional interactions, thus creating a process of inter-legal communication, which takes place through the mutual interpretation and application of two, or more, legal traditions. Through the deployment of a generic or pragmatic analysis at textual or discursive and formal or superficial, strata, of two types of genre within the domain of private law (namely wills and tenancy agreements, or leases) this work aims to prove that both the civil law and the common law private instruments are translatable with respect to each other. An important proviso, however, is that their legal traditions and the genres that constitute the communicative tools of their specialised communities must be duly respected and kept in equilibrium, so that one does not overshadow and obliterate the other. Only in that way can the “convergence” of the two traditions truly enrich and strengthen national and international legal culture. (shrink)

This paper examines the underlying genres of philosophy focusing especially on their pedagogical forms to emphasize the materiality and historicity of genres, texts and writing. It focuses briefly on the history of the essay and its relation to the journal within the wider history of scientific communication, and comments on the standardized forms of academic writing and the issue of 'bad writing'.

Sylvia Wynter, novelist, dramatist, cultural critic, and philosopher, has called for a new poetics that “will have to take as its referent subject, that of the concrete individual human subject”. By “referent subject” Wynter means a shared sense, poetic in nature, that can nevertheless exclude many who are also expected to live it. Man, Wynter argues, as a referent subject first appeared in the Italian Renaissance. As Walter Mignolo has argued, this way of representing an individual is made visual in (...) Leonardo da Vinci’s Vitruvian Man, a man of perfect... (shrink)