273 research outputs found
Remnants and Revenants: politics and violence in the work of Agamben and Derrida
Get PDFThis is the peer reviewed version of the following article: Frazer, Elizabeth, and Kimberly Hutchings. "Remnants and revenants: politics and violence in the work of Agamben and Derrida." The British Journal of Politics & International Relations 13.2 (2011): 127-144, which has been published in final form at http://dx.doi.org/10.1111/j.1467-856X.2010.00428.x. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving.Jacques Derrida and Giorgio Agamben both consider the question of whether there can be politics without violence, offering contrasting responses. In the case of Agamben, the remnant (that which remains) is disruptive and destabilising of present institutions; in the case of Derrida the revenant, the spectre, promises a future that is open. This reading of the two theories suggests that Derrida's response to the question of politics and violence is more persuasive than Agamben's. But the abstraction of his argument, like the tensions and contradictions in Agamben's, means that we are not hereby furnished with the resources to think politically about violence
The other lives of the Binet-Simon test, from the 1911 version to the NEMI-3
No full textCe travail, présenté dans le cadre d'une thèse par validation des acquis de l'expérience (VAE), traite de l'évaluation de l'intelligence de l'enfant. Le contexte est celui de la mesure de l'intelligence en France depuis 1905, depuis les premiers travaux de Binet et Simon. Certes, l'évaluation de l'intelligence n'a pas débuté avec Binet, avant lui Wundt en Allemagne, Galton en Grande-Bretagne et d'autres chercheurs ont créé et utilisé des techniques très élaborées de mesure à des fins de recherche principalement, mais c'est bien Binet et Simon qui ont réalisé le premier test de mesure de l'intelligence pour enfants. Cette première Échelle métrique de l'intelligence a été entièrement révisée par Zazzo en 1966 sous l'appellation de Nouvelle échelle métrique de l'intelligence. L'étude concerne particulièrement les deux révisions de la Nouvelle échelle métrique de l'intelligence qui provient en ligne directe du Binet-Simon de 1911. Pour la première révision, l'auteur développe son travail de création d'items, d'épreuves nouvelles, de préexpérimentations, de recueil de données d'étalonnage et d'analyses qui ont permis en 2006 la publication du test NEMI-2. Les différentes épreuves sont présentées, le rationnel de chacune d'elles ainsi que l'analyse des items sont développés. La seconde révision de ce test est en cours. L'auteur expose le modèle de l'intelligence retenu (modèle CHC), l'amélioration de l'évaluation du raisonnement fluide (Gf) par la création d'une nouvelle épreuve et l'amélioration de l'évaluation de la mémoire de travail. Un questionnaire d'adaptation sociale et d'autonomie complète cette nouvelle version à paraître en 2021 sous le nom de NEMI-3. L'auteur pour cette dernière révision de l'échelle de Binet et Simon a conservé les objectifs initiaux des auteurs tout en veillant à ce que cette version NEMI-3 soit irréprochable particulièrement en ce qui concerne les biais culturels. En effet, la NEMI-3, comme tous les tests d'intelligence, participe.au diagnostic psychologique des enfants, de toutes origines, âgés de 4 à 12 ans.This work, presented as part of a thesis by validation of prior learning (VAE), deals with the assessment of the child's intelligence. The context is that of the measurement of intelligence in France since 1905, since the first works of Binet and Simon. Certainly, intelligence assessment did not start with Binet, before him Wundt in Germany, Galton in Great Britain and other researchers created and used very sophisticated measurement techniques primarily for research purposes, but it was Binet and Simon who carried out the first intelligence measurement test for children. This first Metric Intelligence Scale was completely revised by Zazzo in 1966 as the New Metric Intelligence Scale. The study concerns in particular the two revisions of the New Metric Scale of Intelligence which comes directly from the Binet-Simon of 1911. For the first revision, the author develops his work of creation of items, new tests, pre-experiments, collection of calibration data and analyses which allowed the publication of the NEMI-2 test in 2006. The different tests are presented, the rationale for each of them as well as the analysis of the items are developed. The second review of this test is under way. The author presents the model of intelligence retained (CHC model), the improvement of the evaluation of fluid reasoning (Gf) by the creation of a new test and the improvement of the evaluation of working memory. A social adaptation and autonomy questionnaire completes this new version to be published in 2021 under the name NEMI-3. The author for this latest revision of the Binet and Simon scale has kept the original goals of the authors while ensuring that this NEMI-3 version is flawless especially with regard to cultural bias. Indeed, the NEMI-3, like all intelligence tests, participates in the psychological diagnosis of children, of all origins, aged 4 to 12 years
Emmanuel Carrere, boundaries at work : from fiction to autobiography
No full textLes avant-gardes de la seconde moitié du XXe siècle, qui professaient la remise en cause du roman dans ce qu’il avait de plus consubstantiel, l’intrigue, le personnage, le narrateur, ont paradoxalement engendré un renouveau de la fiction et de l’écriture de soi, d’abord dans les écrits de Marguerite Duras et de Claude Simon, puis à travers la vogue de l’autofiction. L’œuvre d’Emmanuel Carrère se situe en aval de ce mouvement, partagée entre essais, biographies, romans, enquêtes, en un lieu indéterminé qui se situerait entre journalisme et littérature, écriture de soi et (ré)écriture de l’autre. L’objet de cette thèse sera de montrer comment l’auteur de L’Adversaire construit une œuvre protéiforme mais cohérente, un corpus qui, s’étant inauguré avec des ouvrages explorant les multiples virtualités de fictions proliférantes, a évolué vers une redéfinition du pacte autobiographique, Emmanuel Carrère dissimulant le récit de soi dans les histoires d’autres vies que la sienne, brouillant au passage les frontières entre fiction et non-fiction, confondant in fine le documentaire et l’imaginaire, le lu et le vécu.During the second half of the XXth century, the avant-garde literary movements asserted that the inherent characterics of the novel such as plot, characters, narrator, had to be called into question.Paradoxically those movements kindled a revival of fiction and self-writing as it first appeared in the writings of Marguerite Duras and Claude Simon, then throughout the autofiction vogue.The work of Emmanuel Carrère comes as a sequel to this trend, blending essays, autobiography, novels, investigation, somewhere between journalism and literature, self-writing and writing about others.The purpose of this thesis is to show how the author of L’Adversaire constructs a shape-shifting but nonetheless coherent body of work. This corpus which started out as exploration of the potentiality of multiple fictional narratives, evolved towards a new definition of the autobiographical pact.Concealing the narrative of his own life behind the lives of others, Emmanuel Carrère blurs the lines between fiction and non-fiction, thus merging documentary with the imaginary world, and reading with living
Derrida and a Theory of Irony: Parabasis and Parataxis
Get PDFThis thesis presents a theory of structural irony gleaned from the irony theorised and performed in the texts of thinkers whose works operate on the border of the (non)propositional: Plato, Friedrich Schlegel, Maurice Blanchot, Paul de Man, Emmanuel Levinas and Jacques Derrida. While focusing on the irony performed in the texts of Jacques Derrida, and using his engagements with these thinkers as a frame, this is not a theory of “Derridean” irony, but an irony (primarily) elaborated through a deconstructive approach and vocabulary. Structural irony is seen to take the form of the transgressive step/counter-step of parabasis and the non-hierarchical disorder of parataxis. It is an anacoluthic force/weakness, and exhibits the conjunctive/disjunctive trait of hyphenation. It is neither of cynical, aesthetic distance nor humorous, parodic engagement, but is a productive movement of (impossible) negotiation between terms. Irony is an expression of the beyond, within, and this reworking of borders and limits is performed in the fragment/aphorism. The (ir)responsible step taken in Derrida’s texts is understood as a mode of structural irony, and it is proposed that the stylistic changes that occurred in Derrida’s “later” texts were in part due to the autoimmunity caused by an overexposure to the “laws of the interview”. Throughout the thesis styles that manipulate the unmasterable excesses of irony are investigated, and each chapter ends with a reading of one of Derrida’s more “literary” or “performative” texts, while recognising and playing with the falsity of such generic makers or divisions. Inscribing Derrida within a tradition of thinkers of the non-thetic both extends readings of that tradition and of irony itself, while affording a valuable way of approaching the “structures” within Derrida’s texts. Irony is not presented as the transcendental signifier of deconstruction, but as a profitable way of understanding deconstruction and its relation to other writers
Emmanuel Carrère, une oeuvre des limites : de la fiction à l'autobiographie
No full textDuring the second half of the XXth century, the avant-garde literary movements asserted that the inherent characterics of the novel such as plot, characters, narrator, had to be called into question.Paradoxically those movements kindled a revival of fiction and self-writing as it first appeared in the writings of Marguerite Duras and Claude Simon, then throughout the autofiction vogue.The work of Emmanuel Carrère comes as a sequel to this trend, blending essays, autobiography, novels, investigation, somewhere between journalism and literature, self-writing and writing about others.The purpose of this thesis is to show how the author of L’Adversaire constructs a shape-shifting but nonetheless coherent body of work. This corpus which started out as exploration of the potentiality of multiple fictional narratives, evolved towards a new definition of the autobiographical pact.Concealing the narrative of his own life behind the lives of others, Emmanuel Carrère blurs the lines between fiction and non-fiction, thus merging documentary with the imaginary world, and reading with living.Les avant-gardes de la seconde moitié du XXe siècle, qui professaient la remise en cause du roman dans ce qu’il avait de plus consubstantiel, l’intrigue, le personnage, le narrateur, ont paradoxalement engendré un renouveau de la fiction et de l’écriture de soi, d’abord dans les écrits de Marguerite Duras et de Claude Simon, puis à travers la vogue de l’autofiction. L’œuvre d’Emmanuel Carrère se situe en aval de ce mouvement, partagée entre essais, biographies, romans, enquêtes, en un lieu indéterminé qui se situerait entre journalisme et littérature, écriture de soi et (ré)écriture de l’autre. L’objet de cette thèse sera de montrer comment l’auteur de L’Adversaire construit une œuvre protéiforme mais cohérente, un corpus qui, s’étant inauguré avec des ouvrages explorant les multiples virtualités de fictions proliférantes, a évolué vers une redéfinition du pacte autobiographique, Emmanuel Carrère dissimulant le récit de soi dans les histoires d’autres vies que la sienne, brouillant au passage les frontières entre fiction et non-fiction, confondant in fine le documentaire et l’imaginaire, le lu et le vécu
Derrida and postmodernity: At the end(s) of history
No full textThis thesis erects and defends the proposition that Jacques Derrida's readings of 'metaphysics in deconstruction' and his raising to theoretical consciousness of the 'differential matrix', have the capacity to inaugurate a 'brave new world' in this postmodern 'age of the aporia'. Beginning with an examination of Derrida's readings of Husserl and Saussure, it is argued that the radical historicity uncovered here qua an originary synthesis of language, time and the other, opens the possibility for greatly more democratising and emancipating self-creations and human solidarities to be thought. In terms of 'self-creations', and borrowing from the work of Elizabeth Deeds Errnarth, Chapter Two follows Derrida as modernity's sovereign subject and its 'History' are dis-placed by an absolutely affirmative postmodern subjectivity whose axiom might be 'I inherit, therefore, I am ... yes, yes ... ' Construed through his deconstructive reading of Kant, Derrida shows the way in which this postmodern subjectivity without alibi, makes of us all (like it or not, know it or not) resistance fighters, so many singularities existing in constant tension with all normalising/totalising tendencies (social, economic, techno-scientific, political, legal etc ... ) which profess to know the secret. Turning to co-extensive 'human solidarities', Chapter Three subsequently demonstrates the way in which Derrida's call for a 'New International', orientated through a 'new figure of Europe', enables us to imagine new polysemic communities (local, national, international) founded on the 'aporia of the demos', a 'foundation' that construes its hyper-relativity as a positive (ethico-political) condition of decision in terms of a radical responsibility (on an individual and communal level) for the moral/aesthetic decisions we make. It is thus that I will argue that Derrida's vision for a 'new world order' is born out of an aporetic condition which is both a risk and a chance of both the best - and the worst - happening; as someone who shares Derrida's desire for a fairer, freer, more peaceful world, one respectful of difference and otherness, I believe this to be a 'poker like gamble' well worth taking. Chapter Four offers a comparative analysis between the work of Jacques Derrida and Jean Baudrillard, two theorists counter-signing differently many of the 'same' discourses/ traditions/cultures/languages, etc ... to which they are both heirs. The chapter examines their respective 'quasi-philosophies of the limit', together with their differing conceptions of the issues surrounding globalisation and universalisation, as well as Baudrillard' s elevation of America (as opposed to Europe) as the exemplary site of resistance against the dangers of totalisation in 'postmodem' societies. The central argument here, in line with my previous remarks, is that Derrida's thought arguably remains 'the best' way to navigate the postmodem condition and the challenges it produces. The originality of this thesis lies in two main areas, the first having to do with my presentation and conception of Derrida's oeuvre and the second having to do with the comparisons made in this study between Derrida and Ermarth and Derrida and Baudrillard. In terms of the former, I offer what I consider to be a unique, sustained, in-depth analysis of the 'development' (on a theoretical and practical level) of the thematics of 'radical historicity' and of 'post-historical man' - effectively the development of Derrida's quasi-philosophy of history- from his earliest works so that they can be seen to inform his later intervention(s) in what are conventionally understood as ethical and political matters; transforming this understanding in the process and, after the end of history's ends (upper case, lower case and the totalising 'history of meaning' per se), quite literally and radically changing the way we see what we call 'the world'. For while in the conventional literature Derrida's politics come late, I argue here that his indeed later political work is but an emphasis of constant political thematics acting as a leitmotif from beginning to end. Turning to the latter, in terms of the comparisons I make - first between Derrida and Ermarth in Chapter Two and more especially between Derrida and Baudrillard in Chapter Four - the claim to originality lies in the fact that there is no comparison of any note or depth in the literature between these thinkers; nothing that compares Derrida's 'affirmative postmodem subjectivity' and its 'inheritance' with Ermarth's 'rhythmic time' and 'muIti-level consciousness', and nothing comparing Derrida's corpus - specifically his optimistic emancipating and democratizing hopes for the future - with Baudrillard's more pessimistic conceptualization of 'simulation society' and the loss of our European universal values under the hegemonic, globalising movement of the 'American model'. The aim of these two comparisons is to support my claim that Derrida's historico-political position is the 'best' way of essaying the quasi-ground of an in(different) politics in such a way that it keeps the future open to what he calls a 'better world' to come, a world without ends
The sacred choral music of Francis Poulenc: a contextual and analytical study
Get PDFPoulenc is perhaps best known for his instrumental works, for his adherence to the aesthetics of Neo-classicism, and his place among the Parisian intellectual circles in tJie 1920s and 1930s in which his friend, Jean Cocteau, played a central role. This essentially secular side of Poulenc's creativity was, after the composer's return to Roman Catholicism in 1936, challenged by a need to express a newly-found religious conviction in sacred music. Consequently Poulenc, who had been accustomed to the secular aesthetics of Neo-classicism of Parisian artistic life and the French capital's concert halls, found it necessary to 'rediscover' and assimilate the language of French church music and its history (notably through the filter of the Cecilian Movement, Niedermeyer and the pkinchant of Solesmes) in order to create for himself an appropriate 'sacred style’ that could also incorporate those essential elements of his characteristically playful and sensual, 'secular' language. This study aims to explore this confrontation of styles and how Poulenc successfully forged a cohesive and congruent language for his sacred works. The opening chapters have several distinct perspectives: chapter one outlines the tortuous history of the Church's relationship with the State in France dating back to the pivotal effects of the 1789 Revolution, in an attempt to provide a necessary context for the importance that Poulenc and his predecessors and contemporaries (most significantly Debussy) attached to the past; chapter two, by contrast, discusses some of the principal issues at the heart of Parisian artistic society in the early decades of the twentieth century and focuses on the lively artistic community which existed in Paris with the influx of large numbers of foreign musicians (particularly Americans and Russians) and artists, the emergence of 'Les Six' (of which Poulenc was a member) and the artistic leadership and inspiration given by figures such as Jean Cocteau, Serge Diaghilev and Igor Stravinsky. Cocteau and Stravinsky, indeed, had a huge impact on the young Poulenc. The second part of the thesis is an analytical study of Poulenc's sacred works (putting aside the Gloria, Stabat Mater and Sept Repais de Tetibres which are unmistakably concert works) and connects these analyses with the issues presented in the earlier chapters, beginning with the emotionally powerful Litanies a la vierge noire for women’s voices, composed soon after his Catholic faith returned in 1936, and ending with the decidedly hard-edged, Stravinskian Neo-classicism, yet relative placidity, of the Laudes de Saint Antoine de Padoue for men's voices, completed in Cannes in 1959. Central to the analytical discussion are the well known eclectic Mass in G (1937), the dramatic Quatre motets pour un temps de penitence (1939) and the stylistically distilled Quatre petite prieres de Saint Francois d'Assise which display the greatest variety of style and form and which combine to present significant examples of Poulenc's skilful unification of sacred and secular, ancient and modem sound worlds
BEAF Regulates Cell-Cycle Genes through the Controlled Deposition of H3K9 Methylation Marks into Its Conserved Dual-Core Binding Sites
Get PDFThe macroeconomics of the public sector deficit : the case of Morocco
Get PDFThis paper tries to uncover the reasons underlying the performance of the Moroccan economy. The author argues that wage moderation and judicious monetary policies were instrumental in restraining inflation. With one brief exception in 1983, monetary authorities remained firmly committed to eschew any inflationary financing of the budget deficit. This strategy could only succeed however because of the wide ranging system of credit and monetary regulations which worked to channel domestic funds toward the Treasury at relatively low costs. The prospects for the continuation of such a strategy are not favourable however. As far as the growth performance is concerned, it appears that it can be attributed to an outstanding export response to the new trade regime on the one hand and a set of favourable supply shocks, including a string of recordagricultural harvests and the collapse of real oil prices, on the other. The paper studies the evolution of the budget and its different components and argues that the reluctance by Morocco's policy makers to monetize existing budget deficits is well explained by the sharply unfavourable trade-offs between higher monetization and inflation existing in Morocco. It analyzes the implications that continuing budgetary disequilibria has on investment and saving decisions and finds that such implications may be substantial, even though they may not work their way exclusively through traditional interest rates channels.Economic Theory&Research,Environmental Economics&Policies,Banks&Banking Reform,Public Sector Economics&Finance,Financial Intermediation
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