When discussing one of Fyodor Dostoyevsky's novels, Mikhail Bakhtin ruminates on the poietic power of dialogue: in dialogue a person not only shows himself outwardly, but he becomes for the first time that which he is—and […] not only for others but for himself as well. To be means to communicate dialogically. When dialogue ends, everything ends. […] At the level of his religious-utopian worldview Dostoyevsky carries dialogue into eternity, conceiving of it as eternal co-rejoicing, co-admiration, concord. […] Two voices (...) is the minimum for life.1 Notably, Bakhtin's commendation of dialogue as a sine qua non ontological condition communicates both necessity and hope, implying the indispensability of an encounter... (shrink)

Ce livre réunit les actes du colloque qui s’est tenu le 30 octobre 2013 à Nérac dans le cadre des agoras nationales de l’Association des Professeurs d’Histoire & de Géographie, auxquelles ont participé Éric Bonhomme, Yohann Chanoir, Franck Collard, Maurice Daumas, Didier Foucault, Thierry Issartel, Thierry Labarthe, Céline Piot et Yann Prouillet. Pour paraphraser l’humour de sa préface, ce colloque pourrait s’intituler « Et si Lysistrata était un homme…. » Car du masculin et du viril, il en e...

Au milieu du XVII e siècle, l’écriture poétique fait partie intégrante des passe-temps prisés dans les lieux de sociabilité mondaine. Ces compositions présentent un certain nombre de traits stylistiques communs qui les inscrivent dans un réseau textuel. Derrière celui-ci se dessine aussi une forme de communauté des auteurs, tous amateurs. Mais si ces rimailleurs sans grande expérience dans l’écriture peuvent en effet composer aisément des pièces poétiques, c’est peut-être qu’ils disposent d’un moule, que celui-ci soit conscient et assumé ou non. (...) Et quel poète serait plus propice à produire un tel moule que François de Malherbe, le père du vers classique? Aussi notre étude s’attachera-t-elle à montrer qu’au-delà de l’influence générale bien connue du poète caennais, certains de ces sonnets, dont les « Sonnets à Caliste », ont pu fournir des modules « prêt-à-l’emploi » aux versificateurs galants, constituant, par conséquent, une forme de communauté stylistique avec François de Malherbe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 335 Rachel Lumsden “The Music Between Us”: Ethel Smyth, Emmeline Pankhurst, and “Possession” But limelight is bad for me: the light in which I work best is twilight. —Virginia Woolf to Ethel Smyth1 There are few composers who seemed to seek the glow of public limelight more than Dame Ethel Smyth (1858–1944). Smyth fearlessly forged a career for (...) herself as a professional composer in Britain during a time when female musicians were largely regarded as inferior to male musicians and lacked equal educational and professional opportunities. Smyth’s brazen personality was evident from her early years; as a teenager, she battled for two years to gain her father’s approval to travel to Leipzig to further her musical studies. Smyth’s struggle for acceptance as a composer continued throughout her career; she composed large-scale works—including six operas—at a time when women were expected to write “feminine,” small-scale compositions (such as solo piano pieces and songs), and she fought unrelentingly to have her music performed. Throughout her career Smyth faced a barrage of sexist criticism, in which she was consistently referred to as a “lady composer” and alternatively praised and derided for writing “masculine” music: if a 1. Virginia Woolf, letter to Ethel Smyth (August 21, 1932), in The Letters of Virginia Woolf, ed. Nigel Nicolson and Joanne Trautmann (New York: Harcourt Brace Jovanovich, 1979), 5: 97. 336 Rachel Lumsden critic liked her work, it would be lauded for its “masculine strength,” and if a critic didn’t like her work, it would be admonished for exceeding the bounds of female propriety.2 Yet Smyth rarely flinched from battles. A defiant and prolific writer, Smyth also published an exhaustive array of books and memoirs: Impressions that Remained (1919), Streaks of Life (1921), A Three-Legged Tour in Greece (1927), A Final Burning of Boats (1928), Female Pipings in Eden (1933), Beecham and Pharaoh (1935), As Time Went On (1936), Inordinate (?) Affection (1936), Maurice Baring (1938), and What Happened Next (1940), using her literary works as a means of bringing her own experiences into the limelight. By chronicling the oppression and discrimination she consistently faced, she sought not only to draw attention to herself as a composer—whose works, in her mind, had been consistently and unjustly neglected by the public—but also to highlight the plight of female musicians in general. Smyth’s literary works are wide-ranging and cover a host of different subjects, including recollections about her own life, biographical portraits of close friends, excerpts from letters, reviews of her musical compositions, and her forthright opinions about women’s rights. A number of scholars have explored these different aspects of Ethel Smyth’s fascinating artistic career; however, most research on Smyth has focused either on her literary endeavors or her compositions. What is missing is a thoroughgoing analysis of the connections between the two. One exception is Elizabeth Wood, who has brilliantly discussed Smyth’s writings and music; however, many details of Smyth’s vast array of musical works still remain largely unexplored.3 This article examines 2. Smyth’s operas include Fantasio (1892–1894), Der Wald (1899–1901), The Wreckers (1902–1904), The Boatswain’s Mate (1913–1914), Fête Galante (1921– 1922), and Entente Cordiale (1923–1924). For more information about Smyth and the status of female musicians in Britain during this era, see Jane A. Bernstein, “‘Shout, Shout, Up with Your Song!’ Dame Ethel Smyth and the Changing Role of the British Woman Composer,” in Women Making Music: The Western Art Tradition, 1150–1950, ed. Jane Bowers and Judith Tick (Urbana: University of Illinois Press, 1986), 304–24; and Eugene Gates, “Damned If You Do and Damned If You Don’t: Sexual Aesthetics and the Music of Dame Ethel Smyth,” Journal of Aesthetic Education 31, no. 1 (Spring 1997): 63–71. 3. See Elizabeth Wood, “Performing Rights: A Sonography of Women’s Suffrage,” The Musical Quarterly 79, no. 4 (Winter 1995): 606–43; and Elizabeth Rachel Lumsden 337 a small, specific slice of Smyth’s oeuvre: her 1913 song “Possession,” dedicated to Emmeline Pankhurst (“E.P”), her friend and leader of... (shrink)

RESUMO:Na Carta a d’Alembert, Rousseau se coloca contra a ideia de um teatro enquanto instrumento de educação moral, porém, o posicionamento do filósofo não está em colocar essa atividade lúdica de ordem moral na categoria de atividade imoral, mas na de atividade artificial, e, talvez, isso gerasse efeitos imorais. Todavia, é preciso observar os verdadeiros efeitos do teatro, a partir de alguns argumentos que Rousseau resolve construir e analisá-los, contudo, apenas se trouxesse à tona a crítica de Rousseau ao romance, (...) na Carta a d’Alembert, que tem como contexto “a ideia negativa de privatização da cena”, pois o teatro destina uma excessiva importância à descrição do amor, obviamente, exagerando na representação, naquilo que é romanesco. Porém, se, na Carta a d’Alembert, o filósofo não expressa de forma direta que a teorização sobre o teatro também equivale ao romance, na Nova Heloísa, ou seja, no próprio romance, o autor faz essa ratificação, ao importar um longo comentário sobre o teatro que estava na Carta, afirmando que considera o mesmo da própria cena quanto à maioria dos novos escritos. O cidadão genebrino ataca os romances indiretamente e viceversa, porque é observado que tudo aquilo que diz sobre uma arte se aplica quase que integralmente a outra arte. E, como um povo galante deseja amor e polidez, Rousseau resolve fixar alguns termos, na tentativa de explicar suas críticas e argumentar a coerência de seu posicionamento, já que, se, em geral, a cena é um quadro das paixões humanas, cujo original está nos corações, se o pintor, porém, não tiver cuidado de acariciar suas paixões, os espectadores logo ficarão desgostosos e não desejarão mais se ver sob um aspecto que fizesse com que desprezassem a si mesmos. E pontua que essa linguagem não tem mais sentido, em seu século, pois é preciso falar as paixões, esforçando-nos para usar uma que melhor se compreenda, talvez o romance. ABSTRACT:In theLetter to d’Alembert, Rousseau argues against the idea of theater as a moral instrument of education. However, the position of the philosopher is not one of putting this playful activity in the category of immoral activity, but in the category of an artificial activity that perhaps generates immoral purposes. It is necessary to observe the true effect of the theater on the basis of some arguments that Rousseau decides to construct. These are analyzed here, bringing to the fore Rousseau’s critique of the novel in theLetter to d’Alembert. The letter has as its context “the negative idea of privatization of the scene”, as the theater gives an excessive importance to the description of love, obviously exaggerating the representation of romance. If, in theLetter to d’Alembert, the philosopher does not directly express that theorizing about the theater is equivalent to the novel, in theNouvelle Héloïse, that is, in the novel itself, the author does this. He adds to the novel a long commentary on the theater that was in theLetter, stating that he considers the theatrical scene itself to be the same as most new writing. He attacks novels indirectly, as well as the theatre, observing that everything said about one art applies almost entirely to another art. As a gallant people want love and politeness, Rousseau decides to fix certain terms in an attempt to explain his criticism and argue the consistency of his position. In general, the scene is a picture of human passions whose original is in the heart; if the painter is not careful in stroking these passions, spectators will soon become disgusted, not wanting to see themselves in such a way that they despise themselves. Rousseau points out that this language has no more meaning in his century, as it is necessary to speak the passions, striving to use language that best understands the passions, such as, perhaps, that of the novel. (shrink)

Growing concern has been expressed that we have entered a “post-truth” era in which each of us willfully believes whatever we choose, aided and abetted by alternative and social media that spin alternative realities for boutique consumption. A prime example of the belief in alternative realities is said to be acceptance of “conspiracy theories”—a term that is often used as a pejorative to indict claims of conspiracy that are so obviously absurd that only the unhinged could believe them. The epistemological (...) standard often involved in this indictment, however—the standard of “obvious” falsity—invites subjectivity in its application, because what is obviously false to one person can be common sense to another. This is not just a truism; considerable research suggests that people’s political beliefs, in general, and their acceptance or rejection of conspiracy theories in particular, tends in large part to be determined by partisan, ideological, and other priors. (shrink)

The title of this paper reflects the fact truthmaking is quite frequently considered to be expressive of realism. What this means, exactly, will become clearer in the course of our discussion, but since we are interested in Armstrong’s work on truthmaking in particular, it is natural to start from a brief discussion of how truthmaking and realism appear to be associated in his work. In this paper, special attention is given to the supposed link between truthmaking and realism, but it (...) is argued that this link should not be taken too seriously, as truthmaking turns out to be, to a large extent, ontologically neutral. Some consequences of this are studied. (shrink)

It is now possible to have a child without sexual intercourse. The history of this apparently new statement has been breefly synthetised.The new perspectives open ethical problems for the scientific community and a new social context for single women.

The main aim of this paper is to introduce the logics of evidence and truth $$LET_{K}^+$$ and $$LET_{F}^+$$ together with sound, complete, and decidable six-valued deterministic semantics for them. These logics extend the logics $$LET_{K}$$ and $$LET_{F}^-$$ with rules of propagation of classicality, which are inferences that express how the classicality operator $${\circ }$$ is transmitted from less complex to more complex sentences, and vice-versa. The six-valued semantics here proposed extends the 4 values of Belnap-Dunn logic with 2 more values (...) that intend to represent (positive and negative) reliable information. A six-valued non-deterministic semantics for $$LET_{K}$$ is obtained by means of Nmatrices based on swap structures, and the six-valued semantics for $$LET_{K}^+$$ is then obtained by imposing restrictions on the semantics of $$LET_{K}$$. These restrictions correspond exactly to the rules of propagation of classicality that extend $$LET_{K}$$. The logic $$LET_{F}^+$$ is obtained as the implication-free fragment of $$LET_{K}^+$$. We also show that the 6 values of $$LET_{K}^+$$ and $$LET_{F}^+$$ define a lattice structure that extends the lattice L4 defined by the Belnap-Dunn four-valued logic with the 2 additional values mentioned above, intuitively interpreted as positive and negative reliable information. Finally, we also show that $$LET_{K}^+$$ is Blok-Pigozzi algebraizable and that its implication-free fragment $$LET_{F}^+$$ coincides with the degree-preserving logic of the involutive Stone algebras. (shrink)

Argues that there can be interaction without breaking physical laws: e.g. by basic psychic forces, or by varying physical constants, or especially by arranging fractal trees of physical causation leading to behavior.

Between 1873 and 1876, Felix Klein published a series of papers that he later placed under the rubric anschauliche Geometrie in the second volume of his collected works (1922). The present study attempts not only to follow the course of this work, but also to place it in a larger historical context. Methodologically, Klein’s approach had roots in Poncelet’s principle of continuity, though the more immediate influences on him came from his teachers, Plücker and Clebsch. In the 1860s, Clebsch reworked (...) some of the central ideas in Riemann’s theory of Abelian functions to obtain complicated results for systems of algebraic curves, most published earlier by Hesse and Steiner. These findings played a major role in enumerative geometry, whereas Plücker’s work had a strongly qualitative character that imbued Klein’s early studies. A leitmotif in these works can be seen in the interplay between real curves and surfaces as reflected by their transformational properties. During the early 1870s, Klein and Zeuthen began to explore the possibility of deriving all possible forms for real cubic surfaces as well as quartic curves. They did so using continuity methods reminiscent of Poncelet’s earlier approach. Both authors also relied on visual arguments, which Klein would later advance under the banner of intuitive geometry (anschauliche Geometrie). (shrink)

The thought that empathy plays an important role in moral motivation is almost a platitude of contemporary folk psychology. Parallel themes were mooted in German moral philosophy and aesthetics in the 1700s, and versions of the empathy construct remained prominent in continental accounts of moral motivation through the nineteenth century and early twentieth centuries. This chapter elucidates the Empathic Motivation Hypothesis (EMH) and sets out some of the conceptual and empirical challenges it faces. It distinguishes empathic concern from other dimensions (...) of empathy (e.g., resonance, attunement, distress, and non-empathic concern) and examines the merits of EMH as a developmental thesis, focusing on evidence from psychopathology and attachment theory. (shrink)

Discusses the rationality of the Christian religion and examines the philosophical arguments for the existence of God.

This original and lively book explores Greek ideas about health and disease and their influence on Greek thought. Fundamental issues such as causation and responsibility, purification and pollution, mind-body relations and gender differences, authority and the expert and who can challenge them, reality and appearances, good government, happiness, and good and evil themselves are deeply implicated. Using the evidence not just from Greek medical theory and practice but also from epic, lyric, tragedy, historiography, philosophy, and religion, G. E. R. Lloyd (...) offers the first comprehensive account of the influence of Greek thought about health and disease on the Greek imagination. (shrink)

The main scientific problems of chemical bonding were solved half a century ago, but adequate philosophical understanding of chemical combination is yet to be achieved. Chemists routinely use important terms ("element," "atom," "molecule," "substance") with more than one meaning. This can lead to misunderstandings. Eliminativists claim that what seems to be a baseball breaking a window is merely the action of "atoms, acting in concert." They argue that statues, baseballs, and similar macroscopic things "do not exist." When macroscopic objects like (...) baseballs move, exceedingly large numbers (1025) of microscopic components coordinate their activities. Understanding how this happens requires attention to the interactions that link parts into larger units. Eliminativists say that everything that truly exists has causal relationships in addition to those of its components—"nonredundant causality." This paper holds that if a number of entities interact in such a way that the effect of that collection on test objects is different than it would have been in the absence of the interaction, then identification of that collection as a single composite agent is warranted, for purposes to which that difference is relevant. Ordinary "chemical substances" (both elementary materials such as dihydrogen and compounds such as water) fulfill this version of the requirement of nonredundant causality. Other sorts of chemical coherences, including chemical dissipative structures (e.g., flames), also fulfill that criterion. All these types of coherences qualify as "substances" (as that term is used in philosophy) even though they are not all "chemical substances.". (shrink)

This review shows the various tools used to implemente the food quality system in food establishments. Presenting the various laws that subsidize this process, establishing criteria and instrumentes for a correct implementation of the quality system in order to offer adequate hygiene processes in the production of safe food, in addition to favoring the maintenance of companies in the consumer market. The implementation of food safety management systems such as Good Manufacturing Practices (GMP), Standard Operating Procedures (SOP) e Hazard Analysis (...) and Critical Control Points (HACCP), in order to guarantee the safety of the food served and portray the organization of the company. It is essential to implement these systems ensuring the quality of the servisse (planning, control and improvement). In order to achieve healthy criteria related to foodstuffs, it is necessary to implement quality programs as prerequisites of the Hazard Analysis System and Critical Control Points in food services. Regulating and inspecting are just a few points that guarantee food security, since food that does not pose a health hazard to consumers is considered safe. (shrink)

The aim of this study is to explore how nurses perceive patient participations of patients over 75 years old undergoing hemodialysis treatment in dialysis units, and of their next of kin. Ten nurses told stories about what happened in the dialysis units. These stories were analyzed with critical discourse analysis. Three discursive practices are found: (1) the nurses’ power and control; (2) sharing power with the patient; and (3) transferring power to the next of kin. The first and the predominant (...) discursive practice can be explained with an ideology of paternalism, in which the nurses used biomedical explanations and the ethical principle of benefice to justify their actions. The second can be explained with an ideology of participation, in which the nurses used ethical narratives as a way to let the patients participate in the treatment. The third seemed to involve autonomous decision-making and the ethical principle of autonomy for the next of kin in the difficult end-of-life decisions. (shrink)