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AbstractThe article seeks to define the innovation introduced by Brancusi's sculpture. It first studies Brancusi's relation to abstraction, then outlines a new conception of likeness and the suppression of the traditional opposition sculpture/pedestal. It finally shows how this rhythmical sculpture, based on series, puts art on the way to minimalism.
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AbstractThe author analyses and discusses the new situation of theological ethics, divided between purely secular approaches of ethics and hints of massive theological reaffirmations. In order to overcome such sterile oppositions, he proposes a dialectical interpretation of immanence and transcendence, in the hope that it might lead to a liberation of human behaviour and to a greater sense of justice.
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AbstractMy goal here is to look at the pros and cons of one hypothesis according to which all thinking and expression (including philosophy) broke away from the initial Tale. That tale, according to Vernant, used to harbour in its mythical (pre-Socratic) source not only the history of gods and heroes but also those ingredients required for scientific, and even philosophical, discourse. I delve into the two components of this hypothesis. I begin with the unstructured meshing of thought and narrative that underlies tales. Then, and foremost, I seek to determine whether thought still shows traces, however faint, of its narrative origin. One can then wonder if this consubstantial debt has any bearing on the nature and relevancy of its propositions.