1,720,963 research outputs found
LES DÉMONS, MYTHE OU RÉALITÉ ?
No full textSi l’on veut échapper au rationalisme, on peut comprendre que l’évolution des démons, de leur crédibilité et de leur statut est significative de celle de notre culture, de son rapport au réel, et de sa façon de traiter le mal qui affecte l’existence humaine. Par-delà la relation entre théologie et anthropologie, elle traduit la question récurrente de l’alternative entre finitude et culpabilité. Dans une perspective de foi en une histoire du salut elle met en jeu l’ambivalence du rapport au divin.If we want to escape rationalism, we can understand that the evolution of demons, their credibility and their status is significant to that of our culture, its relationship to reality, and its way of dealing with the evil that affects human existence. Beyond the relationship between theology and anthropology, it expresses the recurring question of the alternative between finitude and guilt. From a perspective of faith in a history of salvation, it brings into play the ambivalence of the relationship to the divine
Y a-t-il des traditions de conversion ?
No full textLa conversion, comprise par les modernes comme le changement religieux d’un individu, peut être replacée dans un cadre plus large où elle est commandée par les mouvements de la culture. L’utilisation de la notion de tradition de conversion attire l’attention sur cette voie de recherche.Conversion is understood by the moderns as an individual’s religious change. It can be seen in a wider context where it is controlled by culture’s movements. The use of the concept of tradition draws attention to this line of research
La religion comme illusion
No full textFreud et l’illusion religieuse Difficile aujourd’hui de parler de la religion comme illusion sans se référer à Sigmund Freud : dans L’Avenir d’une illusion, il définissait lui-même à propos de la religion l’illusion comme le produit des désirs. Sans être en contradiction avec l’usage courant du mot « illusion », il en précisait ainsi le sens et l’encadrait dans des limites plus étroites : Une illusion n’est pas la même chose qu’une erreur, une illusion n’est pas non plus nécessairement une er..
Théologie et Politique : une relation ambivalente. Origine et actualisation d'un problème
No full textThéologie et politique, une relation ambivalente : origine et actualisation d'un problème
No full textThéologie et politique, une relation ambivalente : origine et actualisation d'un problème
No full textThéologie et politique, une relation ambivalente : origine et actualisation d'un problème
No full text
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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