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Michael Della Rocca (ed.), "The Oxford Handbook of Spinoza."
No full textReview of Michael Della Rocca (ed.), The Oxford Handbook of Spinoza, OUP, 2018
Maria Baghramian and Sarin Marchetti, eds., "Pragmatism and the European Traditions: Encounters with Analytic Philosophy and Phenomenology before the Great Divide."
No full textChristopher Schlottmann and Jeff Sebo, "Food, Animals, and the Environment: An Ethical Approach."
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PAIN AND THE UNSPOKEN EMOTION: SHAME
No full textAnger, fear, and sadness are frequently described emotions that are experienced by many young people in care, but there is another common emotion that is less often named and understood. Shame — the deep sense of not belonging, of being defective or deficient in some way, of feeling unlovable — is a painful and pervasive social emotion that also involves our thinking processes and sense of self-worth. It has been described as a “pit of despair” that “envelops” many young people in care, a toxic force that drives behaviours we struggle to understand including some aggression and self-harm. Referencing Nathanson’s Compass of Shame, this article looks at some common coping strategies as well as masks or proxies of shame including the so-called “impostor” phenomenon – even the “drive for normality” described by James Anglin in 2002 could be seen as an attempt to escape from shame’s isolating clutches. Strategies for helping young people understand and cope with shame, including the fostering of healthy connections and the judicious use of words, are then explored
Visages comiques de Mentor. Remarques sur les figures magistrales dans le roman comique.
No full textLes romans comiques actualisent la figure du mentor par la présence de personnages tantôt maitre, tantôt guide, passés au crible du soupçon. Francion renvoie l’image satirique du maitre comme bourreau, Hortensius, complétée par la figure du guide, Raymond, ami ouvrant Francion au libertinage. Le guide lui-même offre une image complexe : Anselme incarne un guide paradoxal puisqu’il conforte le berger extravagant dans sa folie, quitte à écorner les valeurs de l’amitié. Chez Cyrano, le Démon de Socrate enseigne une « burlesque pédagogie » qui fera s’émanciper Dyrcona de Campanella. La mise à distance de l’autorité (y compris celle du pseudo-éditeur du Francion) inscrit ainsi la lecture critique comme principe légitimant consubstantiel au genre. Mentor\u27s comic faces. Remarks on masterly figures in comic novels.Comic novels update the figure of the mentor through the presence of sometimes master-, sometimes guide-like characters, against the litmus test of suspicion. Francion reflects the satirical image of the master-as-executioner, Hortensius, completed by the figure of the guide, Raymond, a friend introducing Francion to libertinage. The guide himself offers a complex image: Anselme embodies a paradoxical guide figure since he reinforces the extravagant shepherd in his madness, even if it means scorning the values of friendship. With Cyrano, the Demon of Socrates teaches a “burlesque pedagogy” that is to emancipate Dyrcona from Campanella. The distancing of authority (including that of Francion\u27s pseudo-editor) thus makes critical reading a legitimating principle, and one that is inherent to the very genre
La figure quichottique et la réversibilité de la relation de mentorat dans Don Quichotte de Cervantès et Le Télémaque travesti de Marivaux
No full textCet article étudie le traitement du couple mentor-disciple dans deux « romans de la folie romanesque », Don Quichotte de Cervantès (1605-1615), le modèle de tous ces romans, et Le Télémaque travesti de Marivaux (1714), singulière parodie du Télémaque de Fénelon. Il s’efforce d’analyser les motifs comiques liés notamment à la transmission des savoirs livresques à un disciple ancré dans la culture populaire, mais aussi à l’éventuelle réversibilité de cette relation de mentorat. This paper examines how the mentor-mentee relationship is developed in two “Quixotic” novels : Cervantes’ Don Quixote (1605-1615), the genre matrix, and Marivaux’s Télémaque travesty (1714), a unique parody of Fénelon’s Télémaque. It analyses comic situations linked with the transmission of literary knowledge to a pupil who is rooted in popular culture, and interrogates the possibility of a reversal of the mentor-mentee relationship