Documents found
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221.More information
This paper draws attention to the potential pitfalls and possibilities of a new cosmopolitanism. The first part of the paper briefly portrays cosmopolitanism as a name and metaphor for a way of life, an ideal and an outlook. The second part, however, discloses a paradoxical attribution of the metaphor, revealing the ways in which it assumes something which it is not. The third part of the paper further explores the powers of this paradox, arguing that the new cosmopolitanism can be seen as a riddle that surprises, bewilders and educates: The surprise is in the deviation from current and most common ways of speech. The bewilderment happens as the mantra of cosmopolitanism is bringing together logical opposites, jumbling categories and disturbing pre-existing modes of thought. The educational work of cosmopolitanism thus occurs as a violation of the cognitive framework and logical categories generating our very modes of learning. The vital work of the new cosmopolitanism is therefore in the ways in which it creates epistemic ruptures, recasts our mental categories, generates radically new modes of learning, and thus completely new ways of experiencing, seeing and knowing a world of change. But what are the potential pitfalls and possibilities of a discourse jeopardizing the very vision of the social world, and thus the world itself?
Keywords: Cosmopolitanism, The work of metaphor, Education
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The article examines how Gadamer reads, interprets and critiques Dilthey in Truth and Method. The author proposes to reconstruct this reading, placing it the contemporary hermeneutic debate, according to three transversal views : first relative to Dilthey's position in the history of hermeneutics ; second relative to the criticism of methodological hermeneutics ; and third relative to the diltheyen contribution to a philosophy of life. The main thesis is that Gadamer's relation to Dilthey is not univocal, even if Dilthey is quite central to appreciate the scope of Truth and Method. There is a problem of Diltheyenne inspiration that animates the project of this work — through a questioning on the foundation of the sciences of the spirit — but Gadamer gives a response of Heideggerian inspiration.
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This article focuses on the deadly issues at stake that diverse contexts of totalitarian violence represent for the living. Situating Duras' singular work “The Pain” in her literary canon, the article elaborates upon an interrogation into the unconscious psychic processes that are specific to mourning and pathological mourning, or “Melancholia” per Freud, Lacan and Ricoeur. This leads to a reflection on the way in which, confronted by textual boundaries that are not publicised, heavily influenced by the imagining of another's death, the reader can find himself in a dangerous position. Times 0 and 1 from the oral transmission passing from the surviving witness (Antelme) to the imaginary witness (Moscolo) positioned as psychic repository (Jurgenson) are summarized. From there, an appropriate stratification specific to both invested authorities in “The Pain” emerges, and can move closer to an ethical position on the subject of writing and readership authority.
Keywords: disparition, mort, totalitarisme, deuil, disappearance, death, totalitarian, mourning
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Three terms are joined by the author. History, imagination and writing. The first task at hand will be to understand the close link between history and writing, or writing’s function of standing-for (représentance) and taking-the-place-of (lieutenance). The author then examines the writing of the image, known to be related to an imaginary by virtue of which, undoubtedly, the tupos (the silver print) has been a little too resolutely associated with reality, or its repeatability, and digital pictura (the computer-generated image), which, regarding the archè, has been disconnected from reality. She takes this opportunity to revise the im-materiality associated with the thought of images. She finds that it is not the wealth of the imprints that, at one time, guaranteed the ontology of cinema or, in their absence, its novelty, but rather that, in effect, the cinema offers itself to thought, or that, old or new, it is of the nature of “thinking”.
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225.More information
Keywords: HERMÉNEUTIQUE, ÉCRITURE, ANALYSE QUALITATIVE, NARRATIVITÉ
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La philosophie de Paul Ricoeur porte essentiellement sur un sujet, le sujet par excellence : l’être humain. À travers son approche, grandement inspirée par la phénoménologie et l’herméneutique, Ricoeur propose des solutions conciliatoires aux dialectiques qui s’opposent. Au volontaire et à l’involontaire humain, il pense le concept de personne. Aux temps phénoménologique et cosmologique, il avance la notion de temps humain. Finalement, aux deux formes de l’identité personnelle, Idem et Ipse, il propose la théorie de l’identité narrative en tant que principe unificateur. Cette théorie est le centre de gravité de toute sa philosophie et son rôle au sein du débat sur l’identité personnelle s’est vu prendre beaucoup d’importance au cours des dernières décennies. L’objet de ce mémoire de recherche est donc d’analyser, d’expliciter, et …
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AbstractWhen communicating new knowledge we often use metaphors that provide understanding of one kind of experience by relating it to another. Apart from their use in basic linguistic communication, metaphorical models play an important part in communicating new discoveries in scientific theories. They also shape our experience and affect our picture of the world. The imaginative description of conceptual relations stimulates the research process, providing the basis for new discoveries.