La Colombiade war bis zur französischen Revolution ein in Frankreich und in den westeuropäischen Ländern vielbeachtetes Epos. Aus heutiger Sicht ist das gut lesbare Gedicht erneut von Interesse: es wägt Segnungen und Schäden der Kolonialisierung gegeneinander ab, propagiert die Idee eines auf wissenschaftlichem und humanistischem Ethos gegründeten Europas, und artikuliert das aufklärerische Selbstbewusstsein einer schreibenden Frau. Die Einführung der Herausgeberin stellt das Gedicht in den Wissenshorizont der Entstehungszeit und skizziert die Rezeption. Der Anhang informiert über Textvarianten, bringt erläuternde Anmerkungen und (...) einen bibliographischen Informationsteil. (shrink)
C’est par une description de la fête des Grandes Dionysies, célébrée chaque année à Athènes à la fin du mois de mars, que Mary‑Anne Zagdoun entame son ouvrage sur « l’esthétique d’Aristote ». Et pour cause : c’est principalement, on le sait, lors de cette panégyrie qu’avaient lieu les représentations théâtrales des œuvres qui constituent l’objet d’étude privilégié à partir duquel Aristote a élaboré une théorie artistique novatrice : les tragédies et, dans une moindre mesure pour ce que nous (...) e... (shrink)
Ce colloque devenu livre comble une lacune. Alors que le sujet a été labouré pour le xviiie siècle, aucune synthèse n’existait jusque-là sur le mariage dans la littérature du xixe siècle. Or, la rupture avec les Lumières est frappante comme l’attestent, par exemple, les réécritures d’Inès de Castro étudiées par Maurizio Melai. Le thème du « mariage interdit », inspiré par la tragédie d’Houdar de la Motte (1723) mais subverti un siècle plus tard, illustre le passage de l’Ancien Régime aristocr...
In November, 2009, a prominent group of privacy professionals, business leaders, information technology specialists, and academics gathered in Madrid to discuss how the next set of threats to privacy could best be addressed.The event, Privacy by Design: The Definitive Workshop, was co-hosted by my office and that of the Israeli Law, Information and Technology Authority. It marked the latest step in a journey that I began in the 1990’s, when I first focused on enlisting the support of technologies that could (...) enhance privacy. Back then, privacy protection relied primarily upon legislation and regulatory frameworks—in an effort to offer remedies for data breaches, after they had occurred. As information technology became increasingly interconnected and the volume of personal information collected began to explode, it became clear that a new way of thinking about privacy was needed.Privacy-Enhancing Technologies paved the way for that new direction, highlighting how the universal pr .. (shrink)
Documentary film, in the words of Bill Nichols, is one of the "discourses of sobriety" that include science, economics, politics, and history-discourses that claim to describe the "real," to tell the truth. Yet documentary film, in more obvious ways than does history, straddles the categories of fact and fiction, art and document, entertainment and knowledge. And the visual languages with which it operates have quite different effects than does the written text. In the following interview conducted during the winter of (...) 1997, historian Ann-Louise Shapiro raises questions about genre-the relationship of form to content and meaning-with documentary filmmaker Jill Godmilow.In order to explore the possibilities and constraints of non-fiction film as a medium for representing history, Godmilow was asked: What are the strategies and techniques by which documentary films make meaning? In representing historical events, how does a non-fiction filmmaker think about accuracy? authenticity? invention? What are the criteria you have in mind when you call a film like The Wonderful, Horrible Life of Leni Riefenstahl "dishonest"? How does the tension between making art and making history affect documentary filmmaking? Should documentary filmmakers think of themselves, in the phrase of Ken Burns, as "tribal storytellers"? What kind of historical consciousness is produced by documentary film? (shrink)
Documentary film, in the words of Bill Nichols, is one of the "discourses of sobriety" that include science, economics, politics, and history-discourses that claim to describe the "real," to tell the truth. Yet documentary film, in more obvious ways than does history, straddles the categories of fact and fiction, art and document, entertainment and knowledge. And the visual languages with which it operates have quite different effects than does the written text. In the following interview conducted during the winter of (...) 1997, historian Ann-Louise Shapiro raises questions about genre-the relationship of form to content and meaning-with documentary filmmaker Jill Godmilow.In order to explore the possibilities and constraints of non-fiction film as a medium for representing history, Godmilow was asked: What are the strategies and techniques by which documentary films make meaning? In representing historical events, how does a non-fiction filmmaker think about accuracy? authenticity? invention? What are the criteria you have in mind when you call a film like The Wonderful, Horrible Life of Leni Riefenstahl "dishonest"? How does the tension between making art and making history affect documentary filmmaking? Should documentary filmmakers think of themselves, in the phrase of Ken Burns, as "tribal storytellers"? What kind of historical consciousness is produced by documentary film? (shrink)
Of all my recollections connected with the H of C that of my having had the honour of being the first to make the claim of women to the suffrage a parliamentary question, is the most gratifying as I believe it to have been the most important public service that circumstances made it in my power to render. This is now a thing accomplished.….
As for Avicenna the human soul is a complete substance which does not inhere in the body nor is imprinted in it, asserting its survival after the death of the body seems easy. Yet, he needs the body to explain its individuation. The paper analyzes Avicenna's arguments in the De anima sections, V, 3 & 4, of the Shifā ' in order to explore the exact causal relation there is between the human soul and its body and confronts these arguments (...) with relevant passages in the Metaphysics. It argues that the causal relation between body and soul remains obscure and that, though Avicenna claims that there is a personal immortality and that the disembodied soul remains individuated, he does not provide a satisfactory ontological account for it. (shrink)
