The choice of a teacher to be ?out? in the classroom is perhaps unadvisable, possibly joyous, potentially disastrous, positively political, and just plain hard. For me, the choice to be out in the classroom has met with some consequences that do not match my expectations. This essay is an autoethnographic writing performance of my identity as a gay man and a teacher. To begin, I offer the narrative context in which I first approached the classroom as an openly gay teacher. (...) I merge that narrative with a theoretically-infused reflection on some of my experiences with male learners across the text of The Laramie Project (Kaufman, 2002). I conclude with a few things I believe myself to have learned about pedagogy and understandings of sexuality between myself and those persons who encounter me as ?teacher.? (shrink)

Since the 1960s, the concepts of the ‘global’ and the ‘transnational’ have challenged the state-centred orientation of several disciplines. By 1989, the ‘global’ contained sufficient ambiguity and conceptual promise to emerge as a potentially new central concept to replace the conventional notion of modernity. The consequences of the 1989 revolutions for this emerging concept were extensive. As a result of the post-communist ‘New World Order’, a new vision of a single triumphant political and economic system was put forward. With the (...) ‘globalizing of modernity’ as a description of the post-1989 reality, ‘globalization’ became the policy mantra of the Clinton and Blair administrations up until the late 1990s when ‘anti-globalization’ activists were able to question the salience of this dominant theory of ‘globalization’. In scholarly discussion, ‘globalization’ became a floating signifier to be filled with a variety of disciplinary and political meanings. In the post-9/11 era, this Western-centred ‘globalization’ has been conceptually linked to cosmopolitanism while it has played a minor role in the multiple modernities agenda. The article concludes with an assessment of the current status of the ‘global’ in theory and research. (shrink)

It is commonplace among friends of irreducible causal powers to depict powers as producing their characteristic manifestations as a matter of metaphysical necessity. That is to say that when a power finds itself in those circumstances that stimulate it, it cannot help but be exercised: its effects must occur. The result is a metaphysic that depicts the world not as loose and separate but as united by the strongest glue; this is but one way in which the world as understood (...) by friends of powers differs from that of their Humean adversaries. However, this typical understanding of powers has recently come under attack. Schrenk and Mumford and Anjum have independently argued that metaphysical necessity is not up to the task of connecting a stimulated power with its manifestation. Employing the same devices friends of powers use in rejecting attempts to analyze power ascriptions in terms of counterfactual conditionals, Schrenk and Mumford and Anjum argue that any process a power elicits could be frustrated by way of interference or prevention, and thereby blocked. For example, striking a dry match against a rough surface will generally lead to its lighting, but as anyone who has attempted to do this can attest, a strong gust of wind can prevent the match from lighting, despite the striking having taken place. Hence, even in the presence of its stimulus, the power's manifestation is not ensured, and so the claim that powers necessarily bring about their manifestations is undermined. (shrink)

Résumé L’intérêt pour le café ne date pas d’aujourd’hui, mais les discours promotionnels sur ce breuvage mythique ne cessent de se multiplier depuis l’arrivée d’Internet. Pour mieux comprendre le domaine spécifique des récits gustatifs qui se construisent autour de la passion pour le café, nous avons privilégié une démarche innovante en sciences du langage, la sémiotique du goût. Le site internet de la marque Carte Noire, en misant sur l’expérience gustative euphorisante et la tautologie du désir, offre un corpus approprié (...) pour cette nouvelle approche. L’objectif de notre article est double : il consiste, d’une part, à appréhender le processus de construction des significations du récit passionnel en acte, et, d’autre part, à conceptualiser le sensible, l’imaginaire gustatif et l’hédonisme sur lesquels se basent les stratégies discursives publicitaires adjacentes. (shrink)

En quoi le corps participe-t-il de l'entente que l'homme a du monde? Que signifie dès lors écouter? Comment établir un rapport juste à l'animal? Quel sens prêter aux couleurs? Pourquoi la tonalité décisive de notre rapport au monde peut-elle advenir à la faveur d'expériences olfactives et gustatives? En quoi la tactilité incite-t-elle à considérer le corps vif comme une donnée originaire et à reconnaître qu'il est bien une vulnérabilité dotée d'aptitudes qui nous dispose au monde? Comment l'angoisse, révélée et cachée (...) tout à la fois par la maladie, est-elle chevillée au corps de l'être-au-monde, le Dasein? Qu'en est-il du corps dans la nostalgie, dans la mélancolie, dans l'ennui et dans la joie? Pourquoi la coexistence, supposant relations et rencontres, implique-t-elle l'articulation des corporéités vives comme dans le tact sensitif ou dans la jalousie amoureuse et dans l'amour pensé en terme de tonalité érotique? Comment comprendre la mobilité et parvenir ainsi jusqu'à l'éminente dignité ontologique du mouvement? De quoi la pensée est-elle redevable au corps? Telles sont les questions qui jalonnent cet ouvrage. Par son orientation résolument phénoménologique, l'Intelligence du corps entend renouveler l'entente du phénomène le plus proprement humain et, cependant, le plus malmené par la métaphysique. Prenant librement appui sur les vues inouïes de Martin Heidegger, consciente de l'actuelle soumission du corps de l'homme à l'arraisonnement technique, Ingrid Auriol ouvre une voie d'accès à l'intelligence du corps libérée de cette violence. (shrink)

Le mot 'goût' désigne non seulement le discernement et l'appréciation gustative des qualités des aliments et de la boisson, mais aussi le choix de ce qui, dans un milieu cultivé, est estimé comme étant 'de bon goût'. Ce qu'on appelle 'goût' chez les animaux est une forme du sens chimique, par laquelle l'animal remarque ce qui est comestible. C'est sur la base de cette fonction sensorielle que s'appuye le goût humain. Celui-ci se développe chez le jeune enfant dès qu'il apprend (...) à goûter, à prendre goût a quelque chose, et cela en conformité avec les préférences du milieu ambiant, références que peu à peu il adopte et fait siennes. La formation du goût comporte donc une relation permanente au milieu social ainsi qu'à la langue qui, dans la civilisation, précise tout discernement et toute appréciation. Le plaisir du goût qui juge de la qualité des aliments et des boissons a une valeur exemplaire pour toute relation à ce qui est éprouvé, apprécié et préféré d'une manière sensorielle. C'est cela qu'on dit être 'de bon goût'. Dans une société dont la civilisation et la prospérité sont en progrès, le bon goût exerce une fonction sociale. Mais cette fonction est différente de celle de l'art. Le beau à d'autres dimensions que ce qui est 'de bon goût'. Et dans le phénomène de la mode le bon goût semble pouvoir railler parfois le sens artitistique, sinon la civilisation elle-même. Le domaine du bon goût est comme un domaine intermédiaire et ambigu de la civilisation, où une nature humanisée et une humanité naturelle se fondent l'une dans l'autre. Ce domaine du goût prédominant confine d'une part au champ du besoin du boire et du manger en voie d'humanisation et d'autre part à l'espace illimité de l'art comme culture. Le goût, situé entre le sens naturel et le sens artistique, est la préfiguration du spirituel. Sa signification propre a trouvé son expression dans le langage à l'avènement de l'homo sapiens, cet être caractérisé par l'intelligence, le goût (sapor) de la mesure, de la proportion et de la valeur. (shrink)

In the final book of his poem Lucretius spends some time discussing earthquakes and their causes. In accordance with the standard Epicurean practice, Lucretius considers four alternative physical mechanisms that may be responsible for the phenomenon. The first three explanations involve three different kinds of subterranean matter—rock, water and air —causing the commotion of the earth's deeper regions, which is then transmitted to the surface. The fourth type of earthquake is different, as it is produced by the seismic agent affecting (...) the surface directly and potentially causing its deformation rather than just trembling. This happens when a gust of subterranean wind exagitata foras erumpitur et simul altamdiffindens terram magnum concinnat hiatum. (shrink)

El presente artículo trata de hacer ver que el desencuentro entre la modernidad ilustrada y la religión católica, fue debido a una serie de factores y circunstancias desgraciadas, y no a una incompatibilidad inevitable. Es más, a pesar de los malentendidos y desencuentros, no son pocos los ideales de la modernidad ilustrada que, si profundizamos en ellos, descubriremos su inspiración y raíces cristianas. Es más, guste o no a algunos, el patrimonio espiritual y moral que ha ido configurando la identidad (...) europea ha tenido una de sus más importantes fuentes de inspiración en la tradición judeo-cristiana, sin menoscabar, por supuesto, la herencia griega, el derecho romano, la tradición liberal-ilustrada, y la revolución científica. Especialmente, hemos hecho hincapié en la autoridad moral del sufrimiento de la tradición judeocristiana, como una baza fundamental de cara la defensa de la dignidad humana. Para profundizar en esta compleja problemática hemos tenido en cuenta, entre otros, los análisis de Karl Löwith, Hans Blumenberg, J. Habermas, Benedicto XVI y J.B. Metz. Nuestra conclusión es que no tiene razón el actual secularismo-laicismo excluyente al pretender minusvalorar, o borrar simplemente del mapa, las raíces cristianas de Europa, como portadoras de valores y actitudes, que son tan necesarias ante el relativismo, el nihilismo postmoderno, y la crisis de valores de una sociedad, cada vez más deshumanizada. Frente al euroescepticismo que hoy sobrevuela amenazante, hay que reivindicar el “humanismo socrático-cristiano” como una seña de identidad irrenunciable. Otra cosa es el integrismo religioso, que no acaba de admitir la autonomía de la sociedad civil y del Estado, como presupuesto fundamental de una sana secularidad. Es precisamente en el seno de la sociedad civil donde la institución religiosa tiene derecho a dejar oír su voz, en diálogo respetuoso con las otras voces que en ella se ubican, de cara a consensuar soluciones frente a los graves problemas que nos acucian. Y sólo desde una identidad europea bien asentada, podremos enfrentarnos con el reto de la multiculturalidad al que Europa se ve inevitablemente abocada, en el contexto de la globalización.This article attempts to show, that the disagreement between enlightened modernity and Catholic religion, was due to a number of factors and unfortunate circumstances and not to an unavoidable incompatibility. There is more, despite misunderstandings and disagreements, there are many ideals of enlightened modernity that when we go deeper into them, we discover their Christian inspiration and roots. Even more, like it or not some people, spiritual and moral heritage, which has configured European identity, had Judeo- Christian tradition as one of its sources of inspiration, without underestimating, of course, Greek heritage, Roman law, liberal enlightenment tradition and scientific revolution. We have emphasized, especially, the moral authority of suffering of Judeo-Christian tradition as something basic to defend human dignity. To go deeper into this complex problem, we took into account, among others, the analyses of Karl Löwith, Hans Blumemberg, J. Habermas, Benedit XVI, and J:B: Metz. Our conclusion is that the current exclusive secularism is not right trying to underestimate or eliminate the Christian roots in Europe as carriers of values and attitudes, so necessary against relativism, postmodern nihilism and the crisis of values in a society increasingly dehumanized. Against an Euroscepticism which overflies threatening, we must claim a Socratic-Christian humanism as a sign of indispensable identity. Religious secularismis something different, it does not admit the authority of a civil society and state, as a fundamental prerequisite for a healthy secularity. It is precisely within a civil society where a religious institution has the right to be heard in a respectful dialogue with others voices that are located in there to agree on solutions against the problems we are facing and, only from a well established European identity, we will be able to face the challenge of multiculturalism to which Europe is inevitably doomed in a context of Globalization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Sharing BreathJody Sperling (bio)My work as choreographer dwells on the inseparability between breath and atmosphere. There are no firm boundaries between the air we breathe in, the air surrounding us, and the air enveloping the planet. This is as true for air as it is for water—there is only one global ocean, although by convention we divide the seas into named regions. When you move through the ocean (...) of air enveloping you, you displace it and create dynamic unseen wakes in your midst.Beginning with my dance, "Turbulence" (2011),1 I sought to visualize such patterns of air disturbance into kinetic sculptural forms. To do so, the six dancers deployed Loie Fuller-style costumes, disquieting the air and materializing its gyrations. An early innovator of performance technology, Fuller danced in robes fashioned from hundreds of yards of silk with embedded wands that extended her body's motion into space. Serendipitously introduced to Fuller's work in 1997, I became seduced by the genre for the way it imbues the doer with an expanded sense of self. Whirling in the Fuller-style garments, I felt, and still feel, integrated into the atmosphere as an eddy or gust.With "Wind Rose" (2019),2 a collaboration with composer Matthew Burtner, I focused on making the connections between breath and wind palpable. Wind is said to be the breath of the planet, a driver of earthly life. A windrose is a meteorological tool that graphically represents wind speed, direction and variability at a particular time and place. I thought, what if I designed choreography with the intention not to create human motion, but in order to create a windrose—an atmospheric snapshot—in the performing space? At the start of "Wind Rose," the five dancers stand shoulder to shoulder and circle the stage so as to forge a human turbine. As the dancers accelerate their cyclonic motion, they push a swelling air wave towards the audience.For another section, I choreographed eight motions, each of which was connected with a sound. The sounds were made either by the dancers whipping their Fuller-style costumes through the air or by the dancers' breathy vocalizations. Matthew took my eight sound-breath-moves and composed a fugue. The dancers perform this music-motion score so that [End Page 155] they stir up a breeze pattern—a fugue that can be felt, as well as seen and heard.Wind has been changing along with climate. Locally, winds are becoming more chaotic. Globally, the high winds are slowing down and the polar jet stream is becoming wonky. But we are not in the habit of listening to the changing winds. One of the root causes of climate inaction has been a deep disconnect between people and their atmosphere. Many among the privileged live out their lives in climate-controlled habitats. Recently, though, even wealthy nations and the elite are starting to feel the heat. These days, no matter how deeply you bury your head in the sand, your butt will still get scorched.As a way of grappling with life in the Anthropocene, I have been formulating an open inquiry called ecokinetics. I conceived ecokinetics as a choreographic corollary to ecoacoustics, an environmental mode of music composition pioneered by Matthew Burtner, my long-time musical collaborator. According to Matthew, "ecoacoustics embeds environmental systems into musical and performance structures using new technologies" (Burtner). Ecokinetics asks, how can we relate human movement to environmental systems? How can choreography (aesthetically patterned human motion) illuminate, echo, expand upon the movement vectors present at a site and help us better understand local ecologies? How can dance entwine with media technologies to embody the processes of natural systems? Ecokinetics is part personal movement practice, part pedagogical tool, and part performance methodology.In its essence, ecokinetics repudiates the separation of humans from nature, a pervasive Colonialist mindset that needs constant undoing. In order to make progress on climate change, we must feel—truly and deeply—that we are part of the planet and not apart from it. This is the opposite of what the billionaires' space club aims to accomplish. Bezos, Branson, and Musk, et al. view distance from Earth as a... (shrink)

Es obligatorio comenzar reconociendo que la «identidad» es una palabra inevitable. Pero es que, nos guste o no nos guste, se ha puesto de moda la «búsqueda de la identidad» y su reafirmación como una suerte de propiedad esencial, en la que anida el alma o el genio de los pueblos. Está bien que se critique ese esencialismo identitario (y yo lo haré también con herramientas filosóficas), que se recuerde la naturaleza contingente de toda identificación, la historia cambiante que hace (...) de toda identidad un proceso, una realidad en perpetuo movimiento. Es cierto que este asunto se suele abordar en el marco de la globalización contra cuya supuesta uniformización y homogeneidad han surgido las respuestas identitarias de tipo étnico y cultural o la reafirmación de nacionalismos identitarios. Pero aquí no intentamos plantearlo en el abstracto plano de la geopolítica, sino en el muy concreto de la convivencia social. (shrink)

Tree branches near the electric power transmission lines are of great threat to the electricity supply. Nowadays, the tasks of clearing threatening tree branches are still mostly operated by hand and simple tools. Traditional structures of the multirotor aerial robot have the problem of fixed structure and limited performance, which affects the stability and efficiency of pruning operation. In this article, in order to obtain better environmental adaptability, an active deformable trees-pruning aerial robot is presented. The deformation of the aerial (...) robot is implemented through two ways, arm telescopic and folding. In order to suppress the influence of internal and external disturbances on the system, Active Disturbance Rejection Control technology is adopted to build the flight controller. Firstly, active deformation aerial robot structure is given, followed by system dynamic model establishment under wind disturbance using the Newton–Euler method. Also, the analysis of the gusts influence on the system is considered. Then, the active deformation aerial robot system is decoupled into a combination of six SISO systems, so that a disturbance rejection controller is designed. Finally, the expanded state observer and the nonlinear state error feedback law are used to inspect and compensate the disturbance. Simulation results of attitude and position tracking as well as the antidisturbance capability show that the active deformation aerial robot with the ADRC flight controller designed in this paper has excellent attitude control capabilities during flight and trees-pruning operation. (shrink)

Michele Kennerly's ambitious book sends a gust of fresh air through the field of ancient rhetoric. But that figure doesn't really suit her metaphorics—such a central aspect of the project. To hone in on these, we need to come down to earth—to the material substance of wax tablets and papyrus book rolls, and the bodies of text produced on them. Editorial Bodies is a study of the ways ancient Greek and Roman poets and orators engaged in working on and (...) over texts in a process of "recursive composing" with consequences exceeding any narrow considerations of grammatical niceties. As Kennerly explains at the outset through a careful etymological introduction, our English word... (shrink)

Michele Kennerly's ambitious book sends a gust of fresh air through the field of ancient rhetoric. But that figure doesn't really suit her metaphorics—such a central aspect of the project. To hone in on these, we need to come down to earth—to the material substance of wax tablets and papyrus book rolls, and the bodies of text produced on them. Editorial Bodies is a study of the ways ancient Greek and Roman poets and orators engaged in working on and (...) over texts in a process of "recursive composing" with consequences exceeding any narrow considerations of grammatical niceties. As Kennerly explains at the outset through a careful etymological introduction, our English word... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 44, no. 2. © 2018 by Francesca T. Royster 503 Francesca T. Royster Stories We Tell After Orlando We are in Laila’s backyard for a Sunday barbecue, a cool and windy Chicago June day that immediately followed one of the very hottest days so far this year. My partner Annie and I have brought our fouryear -old daughter Cece and her best friend Gilda to the barbecue, (...) and they’ve dressed themselves in layers, with leggings and hoodies and dresses, girlie but survivalist at the same time in their sequins and metallic purple, discowear for preschoolers. We are at the end of a daylong play date, and we’ve already survived two playgrounds and several tearful standoffs, the ups and downs that come with friends so young. So Annie and I come hungry for some time with our adult friends. The closely packed, brick, three-flat apartment buildings on either side of Laila’s yard provide us with some protection from the wind for a good part of the afternoon. But as the sun goes down and the light dims, we pile on more jackets and scarves over our T-shirts and shorts. Gusts of wind randomly fan the flames until they’re visible over the lid of the grill as Laila cooks. I look out for Laila at the grill while Annie plays catch with the little girls. But I have to do so in stealth, because Laila is as stubborn as she is glamorous. She has insisted on wearing a jacket with green flowing sleeves as she tends the fire, and while she has put her long, graying blond hair up in a chop-sticked bun, she has also pulled out long wispy strands to achieve high femme style. It flies around her face in the wind, flirting with the flames. 504 Francesca T. Royster We are all getting together because later this week Laila will be boarding a plane for the twelve-hour flight home to spend time with her aging mother and father for the summer. “Home” is Lebanon, and we have already experienced losing Laila for a several months in 2006 during a visit home when Israel and Lebanon’s tensions grew into a violent series of bombings that came very close to her Beirut apartment. At the nadir of that time, Laila sent us frantic group letters conveying her worry, sometimes her despair, and her flashbacks to her childhood experiences in wartime Beirut in the 1970s and also in the war of 1982. For a few agonizing weeks her letters stopped coming altogether. The afternoon of our barbecue was the same day as the early morning shootings in the Pulse nightclub in Orlando, Florida, where forty -nine people were killed, and at least fifty others were wounded. The victims were all killed while practicing a rite that all of us considered as sacred and necessary as going to church might be for some—dancing the night away in a gay nightclub. This morning we had woken up to this news, blinking still without our glasses, the magnitude of the news headline hard to fathom as it flashed across the screens of our phones. It’s wrong that mass shootings have become part of the fabric of our lives, and probably will be for the lives of Cece and Gilda. The story feels both shocking and sadly familiar: the apparently easy availability of weapons and a pattern of anger taken to the next outrageous step. And then there’s the gay part. Even when I first heard that the shooting took place at a gay bar, I wondered if the killer, Omar Mateen might be gay himself. “Why Orlando?” I thought. Why a mostly unknown dance club? I thought of the messy, red-hot fury of hate and desire when they get mixed up together. As Annie and I talked about the shooting in hushed voices on the playground that morning, we thought of Matthew Shepard. We thought of the recent theory that Shepard most likely knew his killers; that he hung out with them, maybe did drugs with them. Some have written that the narrative that Mateen is gay only confirms the... (shrink)

En este texto partiremos de la conocida tensión cinematográfica entre la imagen y la narración, refiriendo a un caso concreto de cine mexicano tipológico costumbrista. Es un género que se distingue por una trama débil constituida por secuencias con un importante peso mostrativo o “descriptivo”, más que narrativo y el espectador se entretiene en el reconocimiento de los estereotipos, obteniendo un goce mimético de reconocimiento. Para abordar tal reconocimiento mimético distinguiremos entre los imaginarios literarios y los imaginarios fílmicos. Los imaginarios (...) literarios son esquemas faltos de concreción. Por el contrario, los imaginarios fílmicos no son lo absoluto una cuestión de la imaginación más o menos vaga, sino que dada su base fotográfica presentan girones de la realidad tal cual es en su apariencia. Este imaginario fílmico ya no consta de imágenes de la mera imaginación, al gusto del que se las imagina, sino que consta de fragmentos fotográficos de la apariencia real, por lo que esas imágenes de calidad fotográfica tienden a generan de inmediato aprobación o rechazo. Puede ser que se lea algo que no gusta y entonces tiende a dejarse de lado, pero es más difícil dejar de lado algo que, aunque no guste no se leyó sino se vio. Para analizar el género de narrativa débil tipologizante recurrimos a la teoría de D. Bordwell sobre la construcción de la historia combinándola con la teoría de R. Barthes acera de los núcleos, catálisis, informantes e indicios narrativos. (shrink)

The poet Philitas was so thin, they say, that he had to wear lead weights on his shoes to avoid being blown away by a gust of wind. We have two versions of the anecdote. First Aelian, Varia Historia 9.14.

Competitive sport is not governed by luck egalitarianism. Luck egalitarianism is intended to minimise or prevent all inequalities that arise from luck, as these inequalities are judged to be unjust. Sigmund Loland1 correctly notes that there are elements of luck egalitarian practice in sports: competitors must run the same distances, use the same equipment and so on. However, these measures of standardisation do not level the playing field, because competitors are at liberty to use as much money as they can (...) to further their own chances of success. They may buy the best equipment they or their sponsors can afford; they may spend money to access world-class training facilities; they may employ the most expensive coaches, physiotherapists and nutritionists; they may use personal wealth to minimise the need to earn money and maximise training time. Differences in wealth lead to enormous inequalities between competitors, and these differences largely come down to the luck of their position in various socioeconomic hierarchies. Every sportsperson is affected by socioeconomic luck. Luck plays a role in other ways, too: an archer’s shot is affected by a gust of wind; an athlete’s hopes are dashed by injury; a team’s path through a tournament depends on the initial draw. For a luck egalitarian, …. (shrink)

" L'expérience esthétique, n'est autonome, écrit Adorno, que lorsqu'elle se débarrasse du goût culinaire, la voie qui y conduit passe par le désintéressement.... ", à ce lointain écho de la rupture transcendantale au sein de l'Esthétique du goût, à ce déni pur et simple de la sensibilité et du plaisir " sensuel et grossier ", comme principes du goût, on préfèrera, ici, une présentation non morale, ou non kantienne, de la notion de goût ; une réflexion qui, de Voltaire et (...) Montesquieu à Brillat-Savarin, prend en compte le goût " lui-même " et non seulement sa métaphore ; on cherchera le raffinement et la délicatesse du goût non seulement dans les sphères supérieures de l'existence, mais aussi dans les relations primordiales de la vie, celle de la consommation, de la préparation et de la production, ainsi que le voulait Charles Fourier, (beau) frère de Brillat-Savarin. Dans les deux essais, ici étudiés, s'impose, en effet, la dimension organique et sensuelle mais néanmoins esthétique du goût, dans les choses de la nature et de l'art. L'Essai sur le goût de Montesquieu et La Physiologie du goût de Brillat-Savarin, témoignent, dans des domaines distincts mais étroitement liés, de l'Esthétique comme " science de la sensibilité ". Par leur rapprochement, on entend montrer que le goût n'est pas une " chose mentale " mais l'affaire de tous les sens, que l'âme qui goûte est l'âme qui sent. On cherchera à dépasser le divorce, qui semble s'être installé, entre le jugement esthétique et le plaisir esthétique, on tentera par là, de restaurer la continuité entre les deux pôles de la sensibilité gustative et de redonner, par une réévaluation du goût culinaire, une assise réelle, vitale et réconfortante à la notion de goût, comme sentiment délicat. (shrink)

The Internet and other interactive networks are diffusing across the globe at rates that vary from country to country. Typically, economic and market structure variables are used to explain these differences. The addition of culture to these variables will provide a more robust understanding of the differences in Internet and interactive network diffusion. Existing analyses that identify culture as a predictor of diffusion do not adequately specify the dimensions of culture and their impacts.This paper presents a set of propositions to (...) be used in analyses of the impact of culture on the diffusion of interactive networks. The propositions were developed using cultural constructs presented by Hofstede (1991), Herbig (1994) and Hall and Hall (1987). Diffusion of innovations theory and critical mass theory provide the theoretical base. The development of the propositions resulted from a close examination of the theories for relationships mediated by culture. The resulting propositions use cultural variables in relationships established by the theories. It is hoped that the propositions will serve as a starting point for future research in the area of cultural influences on the diffusion of interactive networks. (shrink)