Die vorliegende Schrift ist die breitere Ausfiihrung eines Referates, das ich gelegentlich des im August in Miinchen veranstalteten padagogischen Kongresses erstattet babe. Dem Thema ist absichtlich der Wortlaut gelassen, den die KongreB leitung gewahlt hatte, weil gerade mit dieser Fassung ein besonders brauchbarer Zugang zum Kern des Problems ge schaffen ist. Die philosophischen Grundiiberzeugungen, auf denen die gesamte Betrachtung fuBt, und die natiirlich bier nicht ausfiihrlich begriindet werden konnten, findet man ent wickelt in meinen Biichern,Erkenntnis und Leben" (Leipzig 1923) und,Individuum (...) und Gemeinschaft" (3. Auflage, Leipzig 1926). Zu ihnen steht der Inhalt dieser Schrift nicht nur im Verhaltnis einer Fortfiihrung; er macht zugleich an einem Einzelfalle deutlich, daB die fraglichen philosophischen Grund satze nicht nur fiir das Ganze der sog.,Geisteswissenschaften", sondern auch fiir die normativen Disziplinen die tragende Grundlage geben. Leipzig, im September 1924. THEODOR LITT 1* VORWORT ZUR ZWEITEN AUFLAGE Die Neuauflage ist durchgesehen und an einer Reihe von SteUen um der Klarheit der Gedankenfiihrung willen erwei tert werden. Auch ist ihr ein Literaturverzeichnis beigegeben. Das bier in grundsatzlicher Form Dargelegte findet man in die Einzelprobleme der Padagogik hinein verfolgt in meinen Schriften,Moglichkeiten und Grenzen der Padagogik" (Leip zig 1926) und,Fiihren oder Wachsenlassen?" (Leipzig 1927). Leipzig, im Marz 1927. THEODOR LlTT I. ERSTE VORBETRACHTUNG Das Thema dieser Untersuchung hat einen Wortlaut, der geeignet ist, Bedenken, wo nicht entschiedenen Widerspruch hervorzurufen. Wir setzen uns zuna. chst mit den Erwligungen auseinander, denen solche Zweifel entspringen; und wir wa. (shrink)

The French historian Auguste Bouché-Leclercq made major contributions to our knowledge of the Hellenistic period. A member of the Académie des Inscriptions et Belles-Lettres, he was also made an officer of the Légion d'Honneur. Bouché-Leclercq is also considered the first modern historian of astrology: he had developed a long-lasting interest in divination during his extensive researches on ancient Greek civilisation. This field had not been considered worthy of serious scholarly study until he published his Histoire de la divination dans (...) l'antiquité between 1879 and 1882. L'Astrologie grecque, first published in 1899, is another important work, still referred to today. Bouché-Leclercq looks back to the oriental roots of Greek astrology. He delves into the specific influence of the zodiac signs, and explains how the celestial sphere was divided in order to draw horoscopes. Other topics include astrology in Roman culture, as well as astrological medicine. (shrink)

[ES] Esta es una discusión de algunos temas vagamente conectados en los artículos de Saul Kripke «The first person» y «Frege’s theory of sense and reference». [EN] This is a discussion of some loosely connected issues in Saul Kripke’s articles «The first person» and «Frege’s theory of sense and reference».

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Neo-Baroque Aesthetics and Contemporary EntertainmentTheodore GracykNeo-Baroque Aesthetics and Contemporary Entertainment, by Angela Ndalianis. Cambridge, MA, and London: MIT Press, 2004, 323 pp., $34.95 cloth.Like the cliché about not judging a book by its cover, the prominence of the term "aesthetics" in a book's title is no indication of what one will find inside. Has the term become so elastic that it will now cover everything cultural? Or is (...) it the case, as in Angela Ndalianis's discussions of theme park rides and computer games, that the term applies to anything that has a parallel in earlier practices covered by this rubric? Ndalianis may be stretching it too far, for the book in question emphasizes parallels with baroque practices that predate Alexander Baumgarten's 1735 proposal to use "aesthetics" as the name of an emerging discipline concerned [End Page 115] with perception. We are alternately informed that the book explores the poetics, semiotics, and the "logic of contemporary media." But because Ndalianis holds that recent visual media involve a "specific system of perception" that arises from a "radical cultural transformation" (22-23), the term "aesthetics" may be as good as any other in conveying her purposes. For she is not concerned with artistic style—presumably the province of art historians. She is theorizing broadly about visual media by examining an assortment of media strategies found in the two eras and aims to identify their common "morphology" (19). Her sources are Fredric Jameson, Walter Benjamin, and Gilles Deleuze rather than, say, Kendall Walton, Noël Carroll, or Gregory Currie.Ndalianis's main idea is that there is a strong but not exact parallel between our own times and the visual forms favored in the seventeenth century. (For Ndalianis, the baroque period stretches from 1492 to the 1680s.) The two epochs involve similar cultural sensibilities and artistic practices, so if we understand baroque art and visual media, we will better understand what is going on in contemporary media. In short, the framing assumption is Shelley's dictum that art is the expression of the spirit of its time. More specifically, the design of modern entertainment media is argued to be very similar to a wide range of baroque entertainment and representational practice. But the similarity is not due to either awareness or imitation of baroque style. Each "logically emerged as a result of systemic and cultural transformations" peculiar to its own time (17). The similar "logic" of each period is thus seen as evidence that there are parallels in the "general tendencies" and consequent "dominant cultural sensibilities" of the two periods (17-21). Because hindsight is more reliable than precognition, a backward glance at the baroque may help us to better grasp our own historical and cultural context.Having outlined these proposals in a lengthy introduction, Ndalianis offers five chapters, each devoted to a specific parallel. All five chapters share a similar strategy. A different aspect of neo-baroque communication is highlighted, and one type of baroque art or entertainment is compared and contrasted with its neo-baroque counterpart, with at least one neo-baroque example explored in considerable detail.The introduction focuses on Jurassic Park (both the film and the theme park ride). Chapter 1 focuses on neo-baroque "narrative strategies," as first Don Quixote and its sequel and then the palace at Versailles are compared to the various Alien films and comic books. The main focus is "serial" art as an outgrowth of capitalism, generating "an aesthetics of repetition" enriched by its "rampant self-reflexivity" (69). Chapter 2 shifts to the baroque love of labyrinthine structure, with its "enforced circuitousness, planned chaos, choice among paths, intricacy, complexity, and an invitation to the audience to engage reflexively" in exploring the labyrinth (84). Ndalianis's baroque case is Pietro de Cortona's elaborate painted ceiling for the Palazzo Barberini in Rome. The neo-baroque counterpart is the Doom video game and its sequel, Doom II. Inexplicably, for a book with numerous illustrations, there are no visuals to display Doom for those unfamiliar with such games. Chapter 3 examines baroque cartography as a background for discussing geographic discovery and colonization, leading to the neo-baroque... (shrink)

Auguste Comte! Ce nom ne dit plus rien à personne. Ceux qui le connaissent encore parlent de lui comme d'un grand philosophe : concepteur de la sociologie, du positivisme et de la théorie des trois états. On oublie cependant qu'il fut aussi à l'origine d'une religion personnelle, un culte des morts destiné à relier et rallier l'Humanité tout entière. Mais au fond, que reste-t-il de son oeuvre? Un vestige lointain d'un cours de philosophie? Une rue connue des seuls Parisiens (...) du Quartier latin?... Voilà un bien maigre héritage pour ce curieux prophète de l'ère contemporaine! Si l'influence quasi mondiale de la philosophie positive n'est plus à démontrer, comment expliquer l'échec de sa religion? Cette question, longtemps boudée par l'historiographie, trouve ici sa réponse, notamment grâce aux diverses références que l'auteur convoque tout au long de son enquête. Parmi elles : Régis Debray, Don Quichotte, Milan Kundera, Philip Roth, Dante, Marcel Jousse, Salvador Dali, Joseph Campbell, Homère, saint Paul, Michel Onfray, Marcel Proust, Louis-Ferdinand Céline, Anatole France ou encore Star Wars... (shrink)

L’enrôlement d’enfants dans les groupes armés est une triste réalité. Présents dans plusieurs conflits armés et guerres, ces derniers peuvent être enrôlés de force, mais il faut prendre en compte le phénomène avéré d’enrôlement volontaire. Les raisons de cet enrôlement volontaire sont nombreuses. Cet article se propose d’examiner la place que tient la maltraitance intra-familiale dans l’émergence et la pérennisation de ce phénomène. Il porte sur une étude de cas d’un enfant soldat rencontré lors d’une recherche en République démocratique du (...) Congo. Ce travail montre que l’enrôlement volontaire puise en partie sa source dans la souffrance du lien familial meurtri dans un tel contexte. Ceci se manifeste dans les questions de bonne distance, de partage de l’intimité et la construction de la figure de l’enfant intrus. (shrink)

Like the cracking of the genetic code and the creation of the atomic bomb, the discovery of how the brain's neurons work is one of the fundamental scientific developments of the twentieth century. The discovery of neurotransmitters revolutionized the way we think about the brain and what it means to be human yet few people know how they were discovered, the scientists involved, or the fierce controversy about whether they even existed. The War of the Soups and the Sparks tells (...) the saga of the dispute between the pharmacologists, who had uncovered the first evidence that nerves communicate by releasing chemicals, and the neurophysiologists, experts on the nervous system, who dismissed the evidence and remained committed to electrical explanations. The protagonists of this story are Otto Loewi and Henry Dale, who received Nobel Prizes for their work, and Walter Cannon, who would have shared the prize with them if he had not been persuaded to adopt a controversial theory (how that happened is an important part of this history). Valenstein sets his story of scientific discovery against the backdrop of two world wars and examines the fascinating lives of several scientists whose work was affected by the social and political events of their time. He recounts such stories as Loewi's arrest by Nazi storm troopers and Dale's efforts at helping key scientists escape Germany. The War of the Soups and the Sparks reveals how science and scientists work. Valenstein describes the observations and experiments that led to the discovery of neurotransmitters and sheds light on what determines whether a novel concept will gain acceptance among the scientific community. His work also explains the immense importance of Loewi, Dale, and Cannon's achievements in our understanding of the human brain and the way mental illnesses are conceptualized and treated. (shrink)