Part Two of the Ethical and Religious Directives outlines the responsibility to care for the spiritual needs of patients and residents, following the example of Christ who both healed the sick and forgave them their sins. The proposed revisions to the introduction add a more explicit focus on the dignity of the sick, the redemptive value of suffering, and the potential evangelization that takes place through institutional health care. The proposed revisions to the directives emphasize that patients and residents have (...) a right to receive spiritual and sacramental care. Likewise, Catholic healthcare institutions, medical staff, and pastoral care personnel have an obligation to arrange and provide adequate spiritual and sacramental care. (shrink)

Deux œuvres africaines par Werewere Liking et Manuna Ma Njock s’inspirent des mythes d’Orphée pour présenter le rituel de guérison employé en Afrique. Il s’agit de la pièce du théâtre-rituel de Manuna Ma Njock, Orphée d’Afrique, et du roman de Werewere Liking, Orphée dAfric. Les poètes nous présentent la catabase orphique en forme de rêve et du rite de guérison. Werewere Liking s’inspire également de Thot-Hermès Trismégiste, l’homologue égyptien de Merlin. Orphée dans la pièce de Ma Njock doit parcourir les (...) neuf étapes de l’initiation qui évoquent les grades de lames du Tarot. Dans le roman de Werewere Liking, Orphée commence sa catabase après la noyade de sa femme, Nyango, qu’il doit retrouver dans le monde souterrain. Le chiffre neuf dans les deux ouvrages est employé comme symbole de la fin de l’initiation, voire l’individuation. (shrink)

Les droits de l'homme sont un ensemble normatif qui donne à tout être humain des droits universels et inaliénables, malgré les différences religieuse, raciale, ethnique ou nationale. Ces droits sont reconnus aux hommes au-delà des droits positifs des différents Etats. De manière fondamentale, ils sont une garantie contre l'exercice arbitraire du pouvoir. Ils sont la réaffirmation forte de l'égalité et de la liberté sans lesquelles on ne peut construire une société démocratique et forte. Malgré cette posture, les droits de l'homme (...) se retrouvent en quête de sens. Le présent ouvrage propose de voir les inflexions des droits de l'homme face au pouvoir des nouvelles puissances, face à la plénitude de l'Etat-nation de façon générale, mais principalement face à l'Etat-africain. Comment, à partir des critiques d'Edmond Burke, de Karl Marx et d'Hannah Arendt, penser la réalité des droits de l'homme? Quel commerce ces trois grands penseurs des droits de l'homme entretiennent-ils. [Source : 4e p. de couverture]. (shrink)

t. 1. Autographa et bibliothecae A-F -- t. 2. Bibliothecae Gdańsk-Münster.

Cet article recense et présente brièvement les recherches et publications sociologiques francophones les plus récentes consacrées aux rapports entre genre et musique selon trois grandes thématiques : celle de la création musicale au féminin, celle de la condition des musiciennes, et celle de la voix des femmes qui, plus étoffée, est également abordée sous l’angle des disciplines anthropologique et musicologique. Chacune de ces thématiques est traversée par la question des enjeux symboliques des catégories de sexe et leur lecture sociohistorique.

New Blackfriars, Volume 103, Issue 1103, Page 146-149, January 2022.

La louve n’est pas seulement associée à la violence et à la terreur mais elle évoque également l’image de la mère nourricière et protectrice comme dans les légendes de Rémus et Romulus et de saint Ailbhe. Dans les deux légendes, des héros allaités par une louve grandissent pour devenir fondateurs : Rome pour Rémus et Romulus et le diocèse d’Emly pour saint Ailbhe. La louve est aussi liée à la débauche et à la luxure, et le bordel est nommé lupanar (...) en latin. The she-wolf is not only associated with violence and terror, but also evokes the image of a protective, nurturing mother as in the legends of Remus and Romulus as well as Saint Ailbhe. In the two legends referred to, namely that of the Roman heroes who became the founder of Rome, as well as that of Saint Ailbhe, founder of the diocese of Emly, both the Roman twins and Saint Ailbhe were suckled by a she-wolf. The she-wolf is also associated with debauchery and concupiscence and the whorehouse is called lupanar in Latin. (shrink)

kerekh 1. Maʼamarim ʻal ʻinyene ha-Yahadut -- kerekh 2. ʻAm ṿe-ʻolam, maʼamarim ʻal ʻinyene ha-shaʻah.

Ensemble d’articles et de comptes rendus de tables rondes, cet ouvrage est le fruit d’un colloque organisé par l’IRCAM, l’occasion d’une rencontre entre chercheurs et musiciennes. De nombreux sujets sont abordés dans cette étude pluridisciplinaire où les femmes sont replacées dans leur contexte historique, social et culturel original, et où le fait musical est entendu comme révélateur du fonctionnement d’une société. Par de multiples portes d’entrée, cette réflexion d’ensemble aborde ainsi le...

Columella invites his readers to plant different flowers, including violets—which will be the main focus of the following discussion :uerum ubi iam puro discrimine pectita tellusdeposito squalore nitens sua semina poscet, 95pangite tunc uarios, terrestria sidera, flores:candida leucoia et flauentia lumina caltae,narcissique comas et hiantis saeua leonisora feri, calathisque uirentia lilia canis,necnon uel niueos uel caeruleos hyacinthos. 100tum quae pallet humi, quae frondes purpurat auro,ponatur uiola, et nimium rosa plena pudoris.96 pangite Heinsius: pingite SAR || 99 nitentia Gesner || 101 (...) frondes SA: frondens R | purpurat auro ϛ: purpura tabo SAR: purpura et auro Ursinus: purpurat albo HeinsiusThis is the text of Rodgers's recent OCT, but with a somewhat modified apparatus criticus. For the purposes of my argument, it will be useful also to quote from the outset a related catalogue of melliferous flowers from another book of Columella's treatise : mille praeterea semina uel crudo caespite uirentia uel subacto sulco flores amicissimos apibus creant, ut sunt in uirgineo solo […] gladiolus narcissi. at in hortensi lira consita nitent candida lilia nec his sordidiora leucoia, tum Punicae rosae luteolaeque et Sarranae uiolae, nec minus caelestis luminis hyacinthus.There are a number of more general similarities, but the relevant point is that the two catalogues list many of the same flowers and describe them in similar ways, which means that one catalogue can serve as an interpretative guide to the other. The first two items in the prose list of garden flowers correspond to candida leucoia and calathisque uirentia lilia canis, similarly listed in the first half of the verse catalogue; nitent can thus support Gesner's emendation nitentia for uirentia, unduly neglected by recent editors. The metaphoric periphrasis gladiolus narcissi can be compared with narcissique comas. Both texts describe the hyacinth as sky-blue, which seems to be otherwise unparalleled. Finally, just like the prose list, Columella's poem groups roses with two varieties of violet :tum quae pallet humi, quae frondes purpurat auro,ponatur uiola, et nimium rosa plena pudoris.The prose version makes it all but certain that the poem should likewise refer to a yellow and a purple varieties of violet. While Columella's verse description of the former variety is fairly unambiguous, that of the latter raises questions. (shrink)

Medieval theologians may not have agonized over how many angels can dance on the head of a pin—though the question does arise in the anonymous mystical dialogue Schwester Katrei—but on other matters angels provoked them to endless speculation. How many are there? Perhaps 34,720,000,000, but that was not the only calculation. Without bodies, how do they speak or sing? Do they have names, or even personal identities? How and why and when did some of them rebel? How do they flit (...) back and forth between praising God in heaven and tending to people on earth? The Bible says much about angels, but they remain abstract and good to speculate about. They are ranked in a hierarchy of orders, but the theologians have different ways of organizing them. James Collins used to say that angels, rational beings like us, show what we would be without our bodies. Even disembodied, however, we would be less mysterious to ourselves than angels are. Saints, being less abstract than angels, lend themselves far more to storytelling—which is precisely what Weinberger does when he shifts from angels to saints. Having guided the reader through issue after speculative issue in the field of angelology, he tells story after story from the treasure trove of hagiography. Are there no issues to be explored? Might the reader be interested in the tug-of-war between action and contemplation, or the role of conversion and penitence, or the gender dynamics of sainthood, or for that matter the tendency of saints to wrestle with demons, bidden or unbidden? Saints are paradoxically both imitable and utterly beyond imitation: they feed the hungry, but they also (some of them) levitate, or starve themselves to death, or produce fire from their fingertips. Unlike angels, they are firmly grounded in history, which means they change over time: modern saints differ from ancient ones, at least in context. Weinberger gives ample material for reflection about saints—at one point, a catalog of ten Hyacinths and a Hyacintha. In approaching the angels, he gives questions with multiple answers; in dealing with saints, he gives answers and leaves it for us to ask the right questions. (shrink)

Within the last 20 years, the US has mounted amassive campaign against invasions bynon-indigenous species (NIS) such as zebramussels, kudzu, water hyacinths, and brown treesnakes. NIS have disrupted native ecosystemsand caused hundreds of billions of dollars ofannual damage. Many in the scientificcommunity say the problem of NIS is primarilypolitical and economic: getting governments toregulate powerful vested interests thatintroduce species through such vehicles asships' ballast water. This paper argues that,although politics and economics play a role,the problem is primarily one of scientificmethod. (...) Even if commercial interests werewilling to spend the necessary funds to controlNIS, and even if government were willing toregulate them, ecological theory is notadequate to provide clear direction for eithereffort. The paper argues there is nocomprehensive, predictive theory ofinvasibility, as part of a larger theory ofcommunity structure, that might guideecological decision making regarding NIS, andfor at least three reasons. (1) There is nofirm definition of NIS, native, exotic,and so on, and ecologists do not use the termsconsistently; as a result, biologists debatingvarious accounts of community structure andecological explanation often do not even makelogical contact with each other. (2) Thedominant theory used to understandinvasibility, island biogeography, has noprecise predictive power and is unable toclarify when NIS might promote biodiversity andwhen they might hinder it. (3) There are nofirm, empirical generalizations that revealwhen a colonizer or a NIS might be likely totake over a new environment, and when it mightnot succeed in doing so. As a result,scientists have only rough rules of thumb toshore up their arguments against NIS. Given theincompleteness of current ecological theory,the paper closes with several suggestions forways that study of NIS might enhanceunderstanding of basic commmunity structuresand vice versa. (shrink)

Torat Ḥovot ha-levavot / ḥibro Baḥye ben Yosef ibn Paḳudah -- Lev Yiśraʼel / [me-et Aharon Yiśraʼel Ḳahan] -- Nefesh Avigdor / liḳuṭ mi-shiʻure Avigdor Miller.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 107-115 [Access article in PDF] The Search for Narrative Laura Felleman Fattal The most cursory cultural investigator cannot help but notice that the visual arts have become a significant source and impetus for the narrative of contemporary books, theater, and dance. In recent memory, the following theatrical and dance performances "Contact" by Susan Stroman and John Weidman, "Art" by Yasmina Reza, "Sunday (...) in the Park with George" by Stephen Sondheim, book by James Lapine, "Les Miserables" by Claude-Michel Schfonberg/music and others, "Picasso at the Lapin Agile" by Steve Martin, and "The Sleep of Reason," by Antonio Buero-Vallego have taken the not-so-dead-life (natura morta) or still life of painting into the vital arena of the performing arts. The quest to seek intra-discipline aesthetics among dance, music, theater, and the visual arts is not the charge, but instead a turn to establish a narrative that has brought about this invasion of interactivity between the arts. Clearly defined boundaries between the arts have beenfading since Fluxus, Happenings, and Performance Art for over half a century. In the early part of the twentieth century, Marcel Duchamp's chess games and use of the fourth dimension of time in his numerous produced and pondered pieces all speak to the interrelatedness of the arts.Contemporary novels based on historical themes and subjects have created characters based on the lives and works of famous and intriguing artists such as Michelangelo Caravaggio, Georges de La Tour, and Jan Vermeer. The silence and pensive qualities of the figures of Jan Vermeer, the seventeenth-century Dutch painter, have been the catalyst for two books, The Girl in Hyacinth Blue by Susan Vreeland and the Girl with the Pearl Earring by Tracy Chevalier.1 Vreeland combines the mystic of the Vermeer paintings' characters with the impoverished history of the refugee status of its owners. In various parts of Vreeland's book the authenticity of the Vermeer painting becomes a subtext for describing the work. [End Page 107] Just the lament of some Dutch art historians. Where has such a treasure gone, or some such thing? He turned to pour us both a brandy. So why could this not be? It's his same window opening inward at the left that he has used so often, the same splash of pale yellow light. Take a look at the figures in the tapestry on the table. Same as in nine other paintings. Same Spanish chair with lion's head finials that he used in eleven canvases, same brass studs in the leather. Same black and white tiles placed diagonally on the floor.2A few pages later the interest in the authenticity of the painting continues: No, no signature. But that was not unusual. He often failed to sign his work. Besides, he had at least seven styles of signature. For Vermeer, signatures are not definite evidence. Technique is. Look at the direction of the brush's stroke, those tiny grooves of the brush hairs. They have their lighted and their shaded side. Look elsewhere. You'll find overlapping layers of paint no thicker than silk thread that give a minute difference in shade. That's what makes it a Vermeer.3In Girl with a Pearl Earring, Vermeer's slow and meticulous technique, obsessive involvement with his models and his assiduous composition of light over textures of both animate and inanimate surfaces in the painting become the core of the novel. He had come in and was standing in the studio, looking out a window. "Take a seat, please, Greit," he said, his back to me.I sat in the chair by the harpsichord. I did not touch it — I had never touched an instrument except to clean it. As I waited I studied the paintings he had hung on the back wall that would form part of the concert painting. There was a landscape on the left, and on the right a picture of three people — a woman playing a lute, wearing a dress that revealed much of... (shrink)