共查询到20条相似文献,搜索用时 0 毫秒
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Claire Feuvrier Prévotat Isabelle Paresys Jean-Michel Sallmann Joël Cornette Laurent Bourquin Françoise Waquet Nicole Lemaître Jean-Yves Mollier Isabelle Backouche Dominique Poulot Perrine Simon-Nahum Marie-Claire Hoock-Demarle 《Revue de synthèse / Centre international de synthèse》1996,117(3-4):547-575
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Éveline Pinto 《Revue de synthèse / Centre international de synthèse》1997,118(1):37-64
Did “the old character, so intelligent, so crazy”, evoked by Marcel Proust through Chardin’s self-portraits, depict himself in the projective mask of the wise man, in one of his most famous paintings, thePhilosopher of the Louvre? As the master of the still life wanted to rise in the hierarchy of the Academic ranks, he probably tried, in this early work, to make up for “this lack of training” in “the humanities”, through the representation of a character in keeping with current tastes, of a modern philosopher. A Philosopher, A Chemist in his laboratory, A Glass-Blower, or A Philosopher busy reading: is the painting of the Louvre (1734) an emblem? Our hypothesis, that this painting represents a chemist philosopher, not a quack or an alchemist, is constructed by comparing the painting with the lampoon entitledThe Philosopher, circulated, according to Voltaire, in the 1730s. 相似文献
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Jean-Marc Mouillie Sylvie Marcq-Bernard Jacqueline Lagrée Sophie Audidière Sophie Peytavin Christian Nadeau Joël Cornette Jean Bernhardt Elsa Rimboux Christophe Alsaleh Fabien Chareix Christian Nadeau Sylvia Giocanti Béatrice Lenoir 《Revue de synthèse / Centre international de synthèse》1998,119(2-3):361-396
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Jacqueline Lagrée Fabien Chareix Antoine Roullé Michaël Biziou Norbert Waszek Andreas Kleinert Joël Janiaud Dominique Catteau Frédérique Desforges Philippe Quesne Jean Bernhardt Philippe Cabestan Roger Pouivet Pierre-Louis Autin Jacques Merleau-Ponty Maryvonne Longeart Emmanuel Picavet Céline Lefève 《Revue de synthèse / Centre international de synthèse》1999,120(1):175-222
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Catherine Larrère 《Revue de synthèse / Centre international de synthèse》1998,119(2-3):271-292
Scepticism is generally considered as leading to political conformity. But obedience to custom is not the only consequence of the separation between the private and the public spheres. The main result of this separation is to create an area of private life which is a space of freedom, away from the crowd and the authorities. It is thus easier to understand the sceptical stance in politics, advising the Prince secretly, while keeping out of the limelight. Above all, this helps us to appreciate the contribution of scepticism to modern conceptions of liberty in providing a social model for the free pursuit of truth. 相似文献
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This essay considers dissensus as the starting point for the construction of a common epistemic space rather than as the acknowledgement of an irreducible disagreement. In the argumentative confrontation and disagreements, we do not want to identify a process which might lead to agreement through rational debate. The aim of this essay is rather to understand how dissensus leads to the constitution of plural communities. It discusses a certain number of texts of political philosophy (Habermas, Mouffe, etc.), where the notion of agreement is crucial to an analysis of argumentative confrontations. This essay uses the hypothesis to analyse the circulation of Leibniz’s dynamics in his correspondence with De Volder. This perspective shows eventually that dissensus is not an obstacle but the basis on which multiple circulations of theories are possible. 相似文献
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Daniel Sabbagh Cécile Nicco Didier Leit Alain Tallon Laurent Bourquin François Laplanche Monique Cottret Pascal Dubourg Glatigny Jacques Proust Gabrielle Radica Nicolas Piqué Norbert Waszek Pascale Busson-Martello Julie Saada-Gendron 《Revue de synthèse / Centre international de synthèse》2005,126(1):178-231
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Estelle Thibault 《Revue de synthèse / Centre international de synthèse》2012,133(4):477-494
In the late 19th century, authors writing on aesthetics often referred to architecture to justify establishing a new hierarchy between things beautiful and things useful, a change underwritten by the rising sociological and anthropological perspectives on art. Meanwhile, architects debated the origins and evolution of artistic styles from the earliest forms of art to the most advanced monumental art works, a debate that fundamentally transformed the relationship between artistic expression and material determinism. 相似文献
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Dr. Zamfira Mihail 《History & Technology》2013,29(3):285-288
Istoria gîndirii ?i creatiei ?tiintifice ?i tehnice române?ti (Histoire de la pensée et de l'oeuvre scientifique et technique roumaine), Academia Republicii Socialiste România, vol. I, ?t. Pascu et collab., Ed.Acad., Bucarest, 1982, 391 pp. 相似文献