On the subject of football, Serge Mésonès, former French international turned journalist, wrote that ?the true miracle remains the birth of a great team; everything which could contribute to this deserves consideration. Whatever happens, the coach and his group will always form that tandem which Bella Guttman used to compare to a symphony orchestra and their conductor: there is a significant difference between the performance when Toscanini is conducting, and that when the conductor is mediocre? (Mésonès 1992, 12). With the (...) aim of better understanding the issues of such an assertion, in this article we will develop the theoretical elements that we began to tackle in the book Teaching Collective Sport in Schools (1999).1 This will involve clarifying, and going into detail on, some conceptions relating to the long journey that is the formation of a sporting group, exploring one scenario at a time. (shrink)

Le débat entre relativistes, affirmant la pluralité irréconciliable des cultures, et absolutistes, défendant la supériorité de la culture humaniste, peut être depasse si I’on définit correctement la “cultureuniverselle.” Elle est recherche infinie de la compréhension la plus complète et la plus cohérente possible à travers le dialogue, c’est-à-dire dans des discours à la validité véritiable. Elle n’a d’autre fondement que la raison. Ainsi relativistes et absolutistes, en tant qu’ils argumentent, appartiennent à cette culture que pourtant ils interpètent mal, en oubliant (...) que I’universel ne peut être qu’une exigence que I’on impose librement. Cependant cette culture désintéressée et formelle a des effets historiques, notamment les ciences modernes. De tene sorte que le problème contemporain est de savoir si on peut articuler la pluralité des cultures, la civilisation scientifique et technique et la réflexxion libre. (shrink)

La présente contribution s’insère dans un travail de plus grande envergure, visant à mettre en lumière les fondements naturels d’une théorie du sens. Dans une telle théorie, on distingue un double mouvement d’anasémiose et de catasémiose. C’est durant le premier que divers mécanismes produisent le sens, sur la base des interactions entre les êtres vivants et les stimulations provenant du monde. Nous nous focaliserons sur le second mouvement, au cours de laquelle le sens permet — voire produit — l’action sur (...) le monde. Or il se fait que l’action sur le monde par les signes, vecteurs du sens, est le domaine d’étude de la pragmatique. Dans notre article, nous confronterons les conceptions classiques de la pragmatique et celles qui découlent de notre approche physicaliste de la catasémiose. (shrink)

Whether or not conscious recollection in autobiographical memory is affected in schizophrenia is unknown. The aim of this study was to address this issue using an experiential approach. An autobiographical memory enquiry was used in combination with the Remember/Know procedure. Twenty-two patients with schizophrenia and 22 normal subjects were asked to recall specific autobiographical memories from four lifetime periods and to indicate the subjective states of awareness associated with the recall of what happened, when and where. They gave Remember, Know (...) or Guess responses according to whether they recalled these aspects of the event on the basis of conscious recollection, simply knowing, or guessing. Results showed that the frequency and consistency of Remember responses was significantly lower in patients than in comparison subjects. In contrast, the frequency of Know responses was not significantly different, whereas the frequency of patients’ Guess responses was significantly enhanced. It is concluded that the frequency and consistency of conscious recollection in autobiographical memory is reduced in patients with schizophrenia. (shrink)

Neither art criticism nor a scholar’s monograph on an artist, Jean-François Lyotard’s Sam Francis: Lesson of Darkness: ‘like the paintings of a blind man’ is a reflection that engages both the painter and 43 of his works into a conversation alternating painting and aphoristic writing. Their order follows neither the chronology of the works nor a linear argument in the prose. And yet, the work generates the strongest feeling of there being a continuity in this peculiar dialogue of (...) pictures and poeticism, a continuity not clearly presented by logic, but one concerning what remains unpresented in presentation. The conversation is revelatory of their shared concerns with the energetic force of absence and is fascinating. (shrink)

The context of a linguisticexpression is defined as everything outside theexpression itself that is necessary forunambiguous interpretation of the expression.As meaning can be conveyed either by theimplicit, shared context or by the explicitform of the expression, the degree ofcontext-dependence or ``contextuality'' ofcommunication will vary, depending on thesituation and preferences of the languageproducer. An empirical measure of thisvariation is proposed, the ``formality'' or``F-score'', based on the frequencies ofdifferent word classes. Nouns, adjectives,articles and prepositions are more frequent inlow-context or ``formal'' types of (...) expression;pronouns, adverbs, verbs and interjections aremore frequent in high-context styles. Thismeasure adequately distinguishes differentgenres of language production using data forDutch, French, Italian, and English. Factoranalyses applied to data in 7 differentlanguages produce a similar factor as the mostimportant one. Both the data and thetheoretical model suggest that contextualitydecreases when unambiguous understandingbecomes more important or more difficult toachieve, when the separation in space, time orbackground between the interlocutors increases,and when the speaker is male, introvertedand/or academically educated. (shrink)

On dit depuis longtemps que l'image visuelle est un langage. Mais ne s'agit-il là que d'un slogan? Ce langage a-t-il des mots? A-t-il une syntaxe? S'écrit-il? Se subdivise-t-il en langues? Permet-il ce jeu sur les formes et le sens qu'on appelle rhétorique? C'est ce qu'on ne savait guère jusqu'ici.

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

A work of art can be defined as a section of space that has been assigned a particular status. It is not our intention to define this status—philosophical aesthetics has been addressing this issue for centuries. Rather, we aim to pinpoint the mechanisms in virtue of which this section of space is isolated and bestowed with the status in question. Such a move requires the action of a certain instance—hence the emphasis we put on the interactive character of the process. (...) We shall pay particular attention to the type of sign called ‘index,’ which plays a pivotal role in this affair. (shrink)

This article rediscovers a short film directed by Jean-François Lyotard, entitled L’Autre Scène. The work underlines the originality of a philosopher who refused to separate theory from practice. First analysing the influence of Freudian theory on the production of the film, I shall then see how the work elaborates the concept of “acinema”. Finally, I will give an interpretation of Lyotard’s enigmatic silence about his first film work. -/- .

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

This volume offers the first English language collection of academic essays on the post-Holocaust thought of Jean Améry, a Jewish-Austrian-Belgian essayist, journalist and literary author. Comprehensive in scope and multi-disciplinary in orientation, contributors explore central aspects of Améry's philosophical and ethical position, including dignity, responsibility, resentment, and forgiveness.

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

The March 2002 symposium Human Dignity and Reproductive Technology brought together philosophers, theologians, scientists, lawyers, and scholars from across the United States. The essays of this book are the contributions of the symposium's participants.

First published in 1972. Routledge is an imprint of Taylor & Francis, an informa company.

La question traitée dans cet article porte sur le monde d’après la pandémie… Représente-t-elle un moment décisif qui va nous faire basculer vers une société plus responsable sur les plans sociaux et environnementaux? De nouvelles habitudes et de nouveaux comportements responsables vont-ils se mettre en place de manière durable? Pour répondre à ces enjeux, cet article mobilise des théories plurielles associées aux changements d’habitudes. Des préconisations s’adressant autant aux entreprises, qu’aux décideurs publics ou citoyens sont proposées pour dessiner les contours (...) d’un après-Covid-19 socialement et écologiquement plus acceptable. The question addressed by this research article concerns the world after the pandemic… Does this pandemic represent a decisive moment that will shift us towards a more socially and environmentally responsible society? In line with this question, will new habits and new responsible behaviors develop in a sustainable manner? To respond to these challenges, the article starts with plural theories associated with changing habits. Recommendations addressed to companies, as well as to public decision-makers or citizens are proposed to draw the contours of a socially and ecologically more acceptable post-Covid-19. (shrink)