Hypertext may represent a new paradigm capable of exploring legal sources within which links are established according to pertinent relationships found between statute texts and case law. However, to discover relevant information in such a network, a browsing mechanism is not enough when faced with a large volume of texts. This paper describes a new retrieval model where documents are represented according to both their content and relationships with other sources of information.

Outlining an improved approach that meets the expectations of 21st-century students and teachers, the author proposes a new definition of that object of study which addresses inconsistencies in the literary canon by including nontraditional narratives such as films, comic books and pop songs.

Apresenta os fundamentos históricos e institucionais da Educação grega clássica e da proposta de educação originada na Paideia Cristã. Aponta aspectos da formação do Cristianismo a partir da missionarização de Paulo e de suas Cartas, destinadas às comunidades cristãs emergentes, distantes de Jerusalém, núcleo originário do Cristianismo. Destaca o papel das Cartas Paulinas na constituição das comunidades cristãs primordiais. Apresenta as atuais definições de Educação à Distância e de Cibercultura, analisando aspectos da dinâmica atual de apresentação de percursos formativos à (...) Distância e de suas potencialidades e desafios. Aponta para a defesa da Educação à Distância como dispositivo plenamente potencial de formação acadêmica, cultural e educacional, tal como se deu na Paideia Cristã. (shrink)

The following article discusses an edition of Hugo Grotius’s De jure belli ac pacis, issued without a place of publication or publisher in 1719. The article focuses on the claim first advanc...

Cette nouvelle enquête sur le patrimoine narratif de tradition orale dans les Alpes de la Savoie s’est inscrite dans la continuité des enquêtes de Charles Joisten, commencées dès les années 1950 et qui ont donné les recueils de contes et de récits de croyance rendus disponibles au tournant de ce siècle. Seul ce type d’enquête directe s’est révélé capable de nous permettre — en tirant parti des moyens disponibles de nos jours, notamment d’enregistrement — de donner le jour à de (...) nouveaux exemplaires de cette matière de l’oralité. Nous exposerons ici les aspects de notre expérience sur plusieurs années de terrain ayant abouti à plusieurs publications. Nous mettrons l’accent sur les questions de forme narrative et de fond dans l’univers de l’oralité, tout particulièrement en ce qui concerne la narration des croyances, dans leurs contextes historiques. Our new survey on the narrative heritage from oral tradition in the Alps of Savoy has been performed in the continuity of Charles Joisten’s opus, gathered since the 50s, which was made fully available in collections of tales and belief narratives about the turn of this century. This type of direct investigation in face-to-face interaction—taking advantage of current means of recording available today—has proved to remain still nowadays the only one able to elicit new data. The main aspects of our field experience in the long term which resulted in several publications about tales and belief narratives will be questionned. While putting the emphasis on narrative form and substantive issues in the realm of orality, we will focus particularly on belief narratives in their historical contexts. (shrink)

A section of Emile, newly translated, setting forth Rousseau's influential version of eighteenth-century Deism. --V. C. C.

Le rapport Sarr-Savoy sur la restitution du patrimoine africain a provoqué controverses et crispations. Quels peuvent être les critères de restitution des objets? Les modes d’acquisition, les usages dans le contexte culturel d’origine, les modalités de retour en Afrique? Il s’agit ici de faire un pas de côté par rapport au débat sur le devenir des musées détenteurs de collections coloniales, particulièrement euro centré. La restitution n’est pas seulement le déplacement physique d’un artefact d’un musée à un autre, elle (...) est un geste symbolique. Ainsi, dans les angles morts de la restitution formelle, cette Mineure recherche des formes alternatives de restitution de basse intensité, à partir desquels pourrait s’ouvrir de nouveaux horizons d’appropriation. (shrink)

On connaît Felwine Sarr pour la publication de son rapport sur les restitutions d’objets d’arts africains, codirigé avec Béatrice Savoy et paru en 2018. On connaît moins son œuvre poétique, fictionnelle et philosophique. Cet article entend resituer sa réflexion sur la restitution dans une pensée plus vaste sur la relation, où l’objet d’art est entendu comme un « passeur de cultures », ainsi que dans une pensée du lieu, éminemment locale et cosmopolite tout à la fois.

This article examines the doctrine of the Trinity taught in the Second London Confession of Faith of 1677. It begins by examining a trinitarian controversy among the Particular Baptists of England in the mid-seventeenth century. After outlining the doctrinal deviations of Thomas Collier, the article proceeds to describe some of the responses to Collier from the Particular Baptist community. In many ways the Second London Confession can be seen as a response to Collier. The article also explores the theology of (...) Hercules Collins, a signatory of the Second London Confession, in contrast to the doctrinal deviations of Collier. The article shows that the Particular Baptists continued in the orthodox Christian tradition of the Apostles, Nicene, and Chalcedonian Creeds. They adopted the Reformed confessional language of the Westminster Confession of 1646 and the Savoy Declaration of 1658 while at the same time not fearing to adjust the language in accordance with their orthodox commitments. (shrink)

The land has come Into its own. At last it has become the focus of great national problems which until now were evoked most frequently with regard to and for the benefit of cities, or even of metropolitan areas. Its very representation, until very recent ages held to be terribly abstract and reserved to technicians, today belongs to the public domain. Exhibitions bearing titles such as Maps and Illustrations of the Earth (Paris, 1980) or Landscape: Image and Reality (Bologna, 1981) (...) attract as many visitors as an Impressionist retrospective, not only because of the novelty of the theme, the rarity of certain documents or the beauty of most of them, as proven by the success of even more specialized events such as those dedicated to the 1730 Sardinian cadastre in Savoy or to the one of Maria-Theresa in Lombardy (Chambéry and Pavia, 1980). (shrink)

There inevitably comes a time when even the best informed minds are tempted to yield to the lure of binarism: when we are no longer concerned with the details of a system, but rather with our vision of the relationship between man and the world. Without going any further it can already be said that the problem of existence is presented to us in terms of a man/world duality, as though we were unable to exceed our subjective vision of things (...) so as to assess their intrinsic reality.When linguists discovered that they could isolate discrete units called phonemes, they were tempted to oppose the discontinuity of these phonemes – reflecting the underlying discontinuity of the signifiers – to a continuum of prelinguistic experience, a continuum that is not arranged as discrete elements except with reference to any significant units of the language selected for the purpose of communicating this experience to others. At the outset we have nothing but a nebulous mass where only the application of a linguistic grid allows us to discern identifiable units. Even if, in the final analysis, it will prove necessary to doubt the universal validity of this vision of things, we must recognize its usefulness in concretizing a concept of linguistic facts – a concept that has for some time played a beneficent role in research. At least for some of us, this vision should reflect the manner in which the world is gradually organized in our minds each time a perceptible reality is isolated from its context at the instant it receives a name. Allow me to introduce an illustration from personal experience. It was the last day of July in 1914. In our little village in the Savoy the international tension – which would eventually end in general mobilization – was very perceptible; our classes were idle, and teachers and pupils had settled down in a field near the school. I was six. Sitting on the grass, my attention was attracted by a plant with large flat leaves. At that moment someone said the word plantain “plantain.” The plant had not been heretofore exactly unknown to me; it didn't strike me, at that moment, as a discovery; but it acquired a distinct existence only at that instant in the green carpet of the field when a signifier had definitively isolated it. It was most assuredly the gravity of the hour that engraved this incident in my memory. (shrink)

This article concerns a silver beaker (now at the Residenzmuseum, Munich) decorated with scenes which seem to be related to the Spanish conquest of Mexico. On the basis of stylistic, iconographic and archival evidence the silversmith is here tentatively identified with an Italian-born artist, Stefano Capello, who is thought to have added a decoration to a pre-existing beaker on the eve of the treaty of Cambrai (3 August 1529). Margaret of Austria, aunt of the emperor Charles V, might have given (...) the beaker as a gift to Louise of Savoy, mother of Francis I, king of France. The article argues, relying upon Warburg’s notion of Pathosformeln (formulas of emotion), that in the early 16th century the New World was perceived and made familiar through an Old World idiom, based on visual formulas taken from classical antiquity and mediated by the Italian Renaissance. (shrink)

Résumé L’écriture, la peinture et la relation à l’architecture sont les trois points d’entrée de ce rappel de l’œuvre de Claude Rutault, au travers d’une mise en parallèle avec celle de Rémy Zaugg. Sur le mode du témoignage, Xavier Douroux revient sur l’histoire du Consortium et de sa coopération avec Claude Rutault, notamment sur les expériences de peinture « en architecture » à la villa Savoye de Le Corbusier, à l’agence de Dominique Perrault, au pavillon de Mies Van der Rohe, (...) et à l’ Éclat de folie de Bernard Tschumi. (shrink)

It has long been known that in April 1343 gems from the Byzantine imperial crown were pledged with the Venetians as collateral for a loan; the sum secured by this transaction was the substantial one of 30,000 ducats. The action had been taken by the empress Anna of Savoy, who, after the death of her husband Andronikos III in 1341, had ensured that her young son, born in June 1332, was crowned by the patriarch in November of the same (...) year as the emperor John V Palaiologos. She negotiated the loan when desperately short of funds while acting as his regent during the ensuing civil war of 1341-1347; under the agreed terms the loan would be repaid at the rate of 10,000 ducats per year over three years, plus interest at 5%. The timescale of the agreement implies that she must have initially hoped that the jewels would be recovered for her emperor son, then only eleven years old, when he reached the age of fourteen. (shrink)

In the 1920s, London was a city on the cusp of change. Just as dance halls and jazz-age decadence displaced wartime austerity, a new generation of artists and designers sought to enliven the city's architecture, erecting dazzling buildings in the emerging art deco style. In contrast with the aging Victorian structures that dotted the city, these bright and colorful buildings--from the Hoover factory to the Ideal House by Raymond Hood, who later designed New York's Rockefeller Center--communicated the city's aspirations as (...) a thriving, modern metropolis. In the decades since, London's art deco buildings have lost none of their appeal. Millions of visitors gaze up at the headquarters of the Daily Telegraph and the nearby Daily Express, take in the elegance of Eltham Palace, or sip a martini at the Savoy. The city's most popular art deco attraction, however, is the London Underground, which boasts a series of art deco and modernist stations, designed throughout the 1920s and '30s by noted architect Charles Holden. In Modernism London Style, architectural historian Christoph Rauhut, with the help of three hundred photographs by Niels Lehmann, captures the architectural art deco heritage of London in a thrilling photographic tour. A portrait of the city during the interwar years, it chronicles the creativity of the artists and designers of the period--and the currents in the city's culture that helped shape their work. Insightful essays and an introduction by architecture scholar Adam Caruso shed light on some of the key features that characterize art deco, from floral and animal motifs to Egyptian themes. For readers planning a trip to London and hoping to place these striking buildings, the book also includes a detailed register and maps. (shrink)

The circulation and entanglements of human beings, data, and goods have not necessarily and by themselves generated a universalising consciousness. The "global" and the "universal", in other words, are not the same. The idea of a world-society remains highly contested. Our times are marked by the fragmentation of a double relativistic character: the inevitable critique of Western universalism on the one hand, and resurgent identitarian and neo-nationalistic claims to identity on the other. Sources of an argumentation for a strong universalism (...) brought forward by Western traditions such as Christianity, Marxism, and Liberalism have largely lost their legitimation. All the while, manifold and situated narratives of a common world that re-address the universal are under way of being produced and gain significance. This volume tracks the development and relevance of such cultural and social practices that posit forms of what we call minor universality. It asks: Where and how do contemporary practices open up concrete settings so as to create experiences, reflections and agencies of a shared humanity? With contributions by Isaac Bazié, Anil Bhatti, Jean-Luc Chappey, Elsie Cohen, Leyla Dakhli, Souleymane Bachir Diagne, Nicole Fischer, Albert Gouaffo, Stefan Helgesson, Fatma Hotait, Tammy Lai-Ming Ho, Christopher M. Hutton, Ananya Jahanara Kabir, Mario Laarmann, Rukmini Bhaya Nair, Olivier Remaud, Gisèle Sapiro, Bénédicte Savoy, Maria-Anna Schiffers, Laurens Schlicht, Sergio Ugalde, Hélène Thierard, Khadija von Zinnenburg Carroll. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.4 (2000) 561-575 [Access article in PDF] Claude de Seyssel's Translations of Ancient Historians Rebecca Boone Through his seven translations of ancient history Claude de Seyssel played a major role in transmitting knowledge about antiquity to the French. Despite this fact he has received little attention from scholars of the French Renaissance. Perhaps the problem is that Seyssel does not seem to fit (...) neatly into any category. He was neither French nor Italian but a Savoyard, not truly noble but the illegitimate son of a noble family, not truly a historian but a writer of history-based propaganda and a translator of histories. He began his career as a jurist, became a royal councillor, then a bishop, and in the end died as the Archbishop of Turin. Before his death Seyssel left numerous works, his most famous being a political treatise entitled La Monarchie de France, a work contemporaneous with The Prince by Machiavelli, with whom he shared a similar view of the political world. 1Much like Seyssel himself the genre of history translation has been rather neglected by scholars. A notable exception is a recent article by A.C. Dionisotti, which also examines the translations of Seyssel. The article's intention is to continue a project proposed by Arnaldo Momigliano, to collect evidence that "would help us to understand where and on what occasions and by what people books of history were written and read." 2 This essay attempts to continue this project by asking the following questions: Why did Seyssel undertake the translations? For whom were they intended? How did Seyssel conceive his task as translator? Finally, what can be inferred from his technique of translation? [End Page 561]First, the translations must be put in the context of Seyssel's life. The translations were a sideline in his busy career as royal councillor. One of many itinerant scholar-diplomats hired by the states of Europe at that time, Seyssel had been teaching law at the University of Turin when he was called into the service of France by the newly crowned Louis XII in 1498. Seyssel was of value to the court because of his reputation as a jurist as well as his connections with the court of Savoy, the state which held the mountain passes leading to Italy. This was especially important because the conquest of Milan was the main goal of Louis XII throughout his reign. Seyssel played an active role in the French occupational government in several Italian cities. Although Seyssel spent much of his time in Italy, he often followed the king around France or was in transit on diplomatic missions to England, to Flanders, and to the Swiss cantons.It is amazing that Seyssel even found the time to write, but by the end of his life, he had left an astounding variety of written works: legal commentaries, translations, works of propaganda for the French monarchy, a political treatise, and at the end of his life several religious tracts. Despite the copiousness of his written works, however, Seyssel remained outside the circle of writers at the French court. He had no connections either with Budé or with the Grands Rhetoriqueurs, such as Jean Lemaire de Belges, nor did he leave any friendly and eloquent correspondence to other humanists. If Seyssel lived during the budding years of the French renaissance, he showed few signs of appreciating it. As a Savoyard educated in Italy he probably thought of the French in the same way as did many Italians of his age: they were militarily powerful but culturally backward. 3Undoubtedly, Seyssel believed the translations would serve his own interests at court. They were a way to cultivate patronage and to enhance his prestige by building up a reputation as an important scholar. But evidence suggests that their main purpose was to prove to the king, to whom all but one of his translations were dedicated, his utility as a councillor. This was the argument of Paul [End Page 562] Chavy in his study of Seyssel's... (shrink)

This paper deals first with the translations and the translators of the De Universi Juris Uno Principio et Fine Uno; second, with the four letters of Biagio Garofalo and Prince Eugene of Savoy; next with the exemplar “B E VIII M 9”; and finally with the apostils, with which Vico deleted, emended, corrected, added to, and marked in ink new variations of his thoughts in the exemplar “XIII B 62.”.

This paper deals first with the translations and the translators of the De Universi Juris Uno Principio et Fine Uno; second, with the four letters of Biagio Garofalo and Prince Eugene of Savoy; next with the exemplar “B E VIII M 9”; and finally with the apostils, with which Vico deleted, emended, corrected, added to, and marked in ink new variations of his thoughts in the exemplar “XIII B 62.”.

Controversy has long surrounded the complex relationship between King Victor Emmanuel III and the dictator Benito Mussolini in Fascist Italy. It is clear that the king played decisive roles in bringing Mussolini to power in 1922 and in removing him in 1943. In between, the two coexisted as Italy became a ‘dyarchy’, with two foci of power. The presence of the monarchy at once checked Fascist radicalism and persuaded many conservatives to adhere to the regime. Thanks especially to the monarchy, (...) the innovative thrust of Fascism was channelled in certain delimited directions, toward a statist economy, for example. Still, the relationship between the crown and Mussolini was often rocky, though the king’s reluctance did not prevent alliance with Nazi Germany, anti-Semitism, and war. Tensions were largely papered over by rhetoric and myth-making, as if the elements of Fascism fit together neatly. Despite his opposition to certain particulars, Victor Emmanuel identified with the overall Fascist project to some extent, and he worried that outright opposition to the regime would jeopardize the monarchy. But as the Second World War went badly for Italy, the king finally deposed Mussolini. Nevertheless, Italy soon voted to eliminate the monarchy, discredited by its association with fascism. (shrink)