Rêves et visions dans le Liber de exemplis et similitudinibus rerum de Jean de San Gimignano

Dans le Liber de exemplis et similitudinibus rerum, Jean de San Gimignano consacre le septième livre aux produits de l’imagination, et plus particulièrement aux visions et aux rêves. Il y développe une réflexion qui vise à montrer à ses lecteurs supposés, en premier lieu aux prédicateurs, de quelles manières ceux-ci peuvent trouver leur place dans un sermon. L’article étudie comment le dominicain italien a envisagé l’utilisation des rêves bibliques et de leur interprétation à des fins homilétiques ainsi que l’attitude somme toute ambiguë de l’auteur du Liber de exemplis à l’égard des traités d’oniromancie.     

Le prieuré de Saint-Zacharie en i403 d'après le Livre de raison de son prieur

Saint-Zacharie is a small township northeast of Marseille, some kilometers from the main Aix-en-Provence-Nice road. In the middle ages it possessed a priory of Benedictine nuns of St Zacharias which was a dependency of the abbey of St Victor at Marseille. This abbey appointed a monk with the title of prior to administer the nunnery at Saint-Zacharie, while the nuns themselves elected a prioress. The Livre de raison drawn up by Jean de Assana, prior in 1402, allows us to establish the convent's budget. It reveals the efforts undertaken to restore a situation which had been severely shaken by the troubles of the fourteenth century, and in particular to develop the domain, which furnished the greater part of the convent's revenues from the production of corn and wine. Only corn provided a cash surplus. The economy of the priory was thus fragile because insufficiently diversified. The house faced other problems too. The development of its spiritual life was no longer a prime aim: the abbey of St Victor on several occasions arbitrarily limited the number of its nuns. There were ninety-eight of them in 1322; twenty-four in 1402; five in 1461. What is more, they were reduced to an income which provided only a bare living so that the convent's possessions appeared to be being exploited mainly as a source of profit for the prior and for the financial benefit of the mother house of St Victor, the archbishop of Aix, and the papal court.     

L’Histoire, la Fable et le Fabuleux Analyse de la notion de fabuleux

Paul Hazard has clearly shown the concomitance ofThe Crisis of the European consciousness in various domains, under diverse aspects and diverse interrogations. This crisis, these new issues which arise concern as well the concept of temporality which was then in vogue. This article seeks to study its emergence through a specific question which concerns the status and the significance to be given fables and myths which we have inherited from Antiquity. Thanks to the studies by abbé Anselme, Fontenelle, Nicolas Fréret, the chevalier de La Barre and Lévesque de Burigny of the notion of the marvelous, as found in fables, we can better grasp the development of an historical concept.     

Les noms de l'expiation dans le vidēvdāt

Summary L'analyse philologique du Vidvdt laisse apparaître une conception particulière de l'expiation. Celle-ci est envisagée comme une sorte de transaction: il s'agit de remettre en ordre la situation désorganisée par la transgression. Le responsable fournit une réparation (ci-), qui va à l'encontre de (paititay-) la faute. Ce paitita- rétablit l'ordre (par-), de manière à neutraliser (uzuuarz-) le mal accompli: le fidèle restera ainsi en ordre vis-à-vis de sa religion. En outre, cette démarche remet le pêcheur, que sa mauvaise action a souillé, en état de participer au culte (yaozd-).     

Les controverses relatives à la nature de l'arhant dans le bouddhisme ancien

Sans résumé     

Spectres,monstres et fantômes: Les Chants de Maldoror et le spectacle de la fantasmagorie

As an introduction to his show in the Capucins' convent, Etienne Robertson states, "Gentlemen, the spectacle about to take place under your very eyes is not a frivolous one. It was created for the thinking man, for the philosopher who enjoys wandering among the tombs" (qtd. in Remise 41). The nineteenth century, and Robertson in particular, grant phantasmagoria a large place in history, even though the concept and the technique existed long before.

With such a success, it should not be surprising that phantasmagoria found its home in literature, especially in Isidore Ducasse's (Comte de Lautréamont's) texts. Indeed, Maldoror's Cantos, in which visual effects hold a significant place, seem to occur behind a thick fog that the reader appears to have difficulty escaping. Just as the spectacles of phantasmagoria are not meant for a "frivolous" audience, as Robertson said, the Cantos are not meant for a reader whom Lautréamont defines as "naive." This article will focus on the visual arts that were prevalent at the time and their influence on the Cantos. Using Roland Barthes's theory, the author shows that Maldoror's Cantos can be read as a spectacle of phantasmagoria in writing.     

Frank H. Knight le risque comme critique de l'économie politique

In this paper we try to throw some light on the Knightian distinction between risk anduncertainty attending to a number of previous contributions to philosophy and economics. On the economists' side, we propose to read Knight's distinction in the light of the distribution controversy that took place in theQuarterly Journal of Economics at the end of the xix^th century. On the philosophers' side, the pair risk/uncertainty can be analysed in view of Knight's epistemological sources, as opposing a sort ofprobabilistic positivism to anagnostic variety of positivism. His philosophical commitments can be of use in explaining why Frank Knight closes down the distribution controversy, proposing instead a reconstruction of economics as a rational choice science.     

Les aleas de la reproduction sociale: ‘Le cas de la bourgeoisie d'sarles sous le second empire’

This article has two aims. The first is to outline Franco Venturi's ideas on absolutist monarchy and to highlight new analytical perspectives of his interest in the achievements of the reformist sovereigns. The second is to help shed light on his complex intellectual life. The article begins by underlining how Venturi's historical insights make it difficult to single out a unanimous understanding of absolutist monarchy, and then develops by reconstructing different notions of monarchy. These are: (1) monarchy as a dynamic impetus capable of renewing society in the ancien régime, (2) monarchy as a fundamental, albeit complex, collaboration between power and the intellectual, (3) monarchy as the ground in which libertarian ferment matured, (4) monarchy as a force that provoked revolts and rebellions. Focusing particularly on this last idea, the article suggests how Venturi's interest in the sovereigns’ actions grew in part from his sympathy for and appreciation of the rebellions to which their reformist policies gave rise. This particular perspective makes it possible to observe an ever-present streak of radicalism in Venturi's ideas.     

Louis d'Anjou et le rayonnement de l'art parisien (1360–1380)

The creation, in the early 1360s, of the apanages of Anjou, Berry and Burgundy for the benefit of the younger brothers of King Charles V of France, already pregnant with political consequences, brought about, gradually, the installation in the provincial capitals of Angers, Bourges and Dijon of courts which favoured learning and luxury. The princes, like the king of France, presented themselves as enlightened Maecenases, keen on novelties, ready to protect and encourage skilled men who could create pious representations for their chapels or sumptuous decorations for their castles. Coming from Paris, a town celebrated for its builder's yards, for its teams of renowned artists, and for its know-how, the sons of King John II would indubitably not have found in their new territories, in spite often of the memory of past splendours, the craftsmen capable of satisfying their tastes and their habits. Thus they were forced, in order to create the requisite local facilities, either to innovate on the spot, or to turn to the capital city of Paris or other illustrous centres to import both men and models.To study the beginnings of the installation of one of these apanaged princes in his province, as is done here, raises the question of the influence of Paris on French artistic life in the 1370s.     

La critique de l'idolâtrie des jeux scéniques dans le de civitate dei. destinataires et enjeux

Contrairement à son aîné Tertullien, saint Augustin ne consacre pas de longs développements à démontrer l'origine religieuse des jeux antiques. De nombreux passages du De civitate Dei font cependant exception ; l'auteur tente ici d'en rendre compte. Saint Augustin y vise le paganisme que la chute de Rome et la venue en Afrique du cercle sénatorial de Volusien ont rendu plus vivace. L'évêque d'Hippone mêle dans ses attaques une érudition purement livresque et des souvenirs personnels, grâce auxquels il démontre, contre toute évidence, le caractère religieux des jeux offerts par les notables des cités africaines. Le débat n ‘est pourtant pas déjà anachronique car, pour n'être pas religieux, les jeux n'en sont pas moins liés au paganisme du patriotisme urbain qui constitue la véritable cible de saint Augustin. A la cité terrestre comme absolu, il oppose l'idée de la vie comme peregrinatio, sans attaches, en marche dans l'espoir de la cité céleste.     

De la controverse aux règles de la méthode de discussion : La métamorphose Pascalienne de la dispute sur le vide

Pascal’s Expériences nouvelles touchant le vide (1647) outlines a physical demonstration that aims to put to an end controversies between plenists and vacuists. The traditional form of the dispute with which Pascal wanted to break, however, finds itself reactivated by Étienne Noël, who takes up again the plenist objections which the Expériences nouvelles only consider as possible the better to refute them. Pascal’s letters Au très révérend père Noël and À Monsieur Le Pailleur on the contrary permit one to define a field of disputation different from the one which Noël perpetuates. Pascal subordinates the dispute to the recognition of common epistemological principles: the antithetical discussion about the vacuum should be governed by methodological criteria accepted by all. In contrast with the model of the learned dispute, Pascal thus defines a radically new model: the scientific dispute.     

Ludovico Geymonat le Problème de L’épistémologie Historique

The study of the various inspirations of Ludovico Geymonat's epistemology (positivism and neopositivism, neorationalism, historicism and dialectical materialism) illustrates the way in which for the Italian philosopher the problem of objectivity of knowledge remains inseparable from the historicity of the sciences. Geymonat's epistemological approach associates scientific progress to its objectivity.     

L’Économie de la Création le Financement du Film Documentaire

The study of the financing of documentary films in France by its two main sources (TV channels and the film industry) enables us to uncover the conditions of possibility of the autonomy of filmmakers. It reveals an opposition between two patterns: a logic of “flows” within the audiovisual circuit (television) and a logic of “scarcity” within the film circuit, completed by new forms of financial support.     

Les cercles croissants de la désidentification psycho-et sociogenèse de la haine réflexions sur le Rwanda

Sans résumé Ce texte, rédigé en anglais en octobre 1997, a été traduit ici en fran?ais par Michèle Garlati, avec le soutien financier de l'Académie royale néerlandaise des sciences. Une version préliminaire est parue dansTheory, Culture and Society, vol. XIV, 2 mai 1997, p. 105–122.     

La scission et le développement dans la tradition de l’écriture féminine de Chen Ran

Le roman de Chen Ran陈染Siren shenghuo 私人生活(La vie privée) constitue la vie d’une jeune femme, Ni Niuniu, qui vivait dans une métropole chinoise dans une époque de grands changements. Chen Ran a dévoilé la propre expérience de sa vie intime pour concrétiser son image de soi et d’autrui,son style de narration de la vie avec sa volonté et sa logique, pourétablir les paroles féminines.Chen Ran est une écrivaine singulière et importante dans la littérature contemporaine, elle nous a fourni une ressource spirituelle riche pour le développement de la littérature féminine du XXesiècle par ses nombreuses écritures d’exploration des expériences psychologiques spécifiques, féminines, qui représentent le modernisme.Pendant ces dernières années, son oeuvre s’ est orientée de plus en plus vers le psychologique et le philosophique en explorant la solitude, l’amour sexuel et la vie humaine. Chen Ran exprime la solitude et la tristesse des personnages par son écriture parfaite qui rend toute la beauté de la tristesse profonde. La tristesse qu’elle a exprimée n’est pas de simples expériences ou émotions personnelles, mais de la recherche et de l’interrogation profonde vers l’identité du《je》 et de l’《autre》     

Le modèle des petites filles: structure familiale dans l'œuvre de la comtesse de Ségur

This article discusses how Petrarch's self-portrayal as a spokesman for peace, armed with quill and inkpot, is brought forward in the canzone "Italia mia benché 'l parlar sia indarno" and in his epistles of the 1350s. The poet's activity as peace mediator appears in this famous canzone dedicated to Italy well before the epistles were written. Dated to 1344, the poem's thematic kernel seems to have been subsequently unfolded and broken down into the epistles that Petrarch later sent to the political leaders of his day. Petrarch's cry for peace in the Rerum vulgarium fragmenta is threefold: he invokes spiritual, societal, and teleological peace. The different faces of this threefold pining for harmonic conciliation find an outlet in the invocations of, respectively, Chiare fresche e dolci acque, "Italia mia," and the Canzone alla Vergine. "Italia mia," his most distinctly political text as well as heartfelt plea to the lords of Italy, marks Petrarch's last attempt to recompose the political fractures of Italy within the peninsula itself; from the 1350s onward, Petrarch addresses his political appeals solely to foreign rulers, a sign of the waning independence of Italian states.     

Concepts of Necessity in Voltaire's Poème sur le Désastre de Lisbonne

The eleventh-century Chanson de Sainte Foy is a paradigmatic example of early Romance textuality. Composed in southwestern France and intimately tied to the saint's cult centered around the abbey at Conques, an important site on the French pilgrimage road to Santiago, the almost 600-line poem is among the earliest examples of an extended narrative poem in Romance. Nonetheless, the place of composition and the language of the text remain a controversy. Most editors and linguistic studies of the text have identified its language with the French department of the Aude, specifically around the vicinity of Narbonne, thus rejecting a more southerly Catalan locus of composition. While widely recognizing the poem's cultural matter, this article argues for a stronger Catalan presence in the language of the poem. Specifically, the author examines forms of the so-called Pyrenean definite article derived from Latin IPSE in light of contemporary dialect features of the Catalan of the Eastern Pyrenees.