1,111 research outputs found
Samuel Beckett and the Writers of Port-Royal
No full textIt has been observed that ‘the literary influences on Beckett have been far more important than has been acknowledged, and more important indeed, than the philosophical influences’ (Smith 2002: 3). The truth of this statement is evidenced by the description that scholars have given of Samuel Beckett’s relationship to seventeenth century French classicism. To date, critical interest has been limited for the most part to the figure of the philosopher René Descartes on the (fragile) grounds that Beckett was exclusively concerned with the Cartesian imperative of clarity and order, the fundamental dualism between body and mind, and Nominalism.
Together with the assumption that Beckett’s vision was essentially Cartesian, his literary filiation with Pascal was suggested by critics, but only in terms of Beckett’s formal approach to the theatre. In his short article on En attendant Godot in 1953, the playwright Jean Anouilh was among the first reviewers to suggest that Beckett’s drama synthesizes the encounter between ‘classicism’ and a ‘modern’ form of art. It is well known that Beckett retained a lifelong admiration for Pascal – indeed, Pascal was one of his ‘old chestnuts’ (Knowlson 1997: 653). Little attention has been paid, however, to the originality of Pascal’s thought, the specific nature of his prose, and the impact these might have had upon Beckett’s mature work, especially the trilogy and the subsequent short prose. Yet, in the literary and philosophical context of post-war France, Beckett’s filiation with Pascal, their corresponding preoccupations, were evident to his contemporaries, who identified Pascal as an underlying presence in his works
Critical Issues in Head and Neck Oncology: Key Concepts from the Seventh THNO Meeting
No full textThis open access book discusses the most current issues in head and neck cancer with a focus on current trends such as biomarkers, precision medicine and immunotherapy. New approaches in the diagnosis such as liquid biopsies and imaging biomarkers to predict radiotherapy toxicity as well as approaches in the surgical management of head and neck cancers are discussed. The book discusses medical and surgical approaches in both primary, recurrent and metastatic disease and also covers approaches for rare head neck cancers. Readers will learn about the latest drug developments and epidemiological aspects in cancers ranging from head and neck squamous cell cancer to nasopharynx cancer. Edited by a team of world leaders in head and neck cancer, this volume serves as an easy reference to the head and neck oncology practitioner and provides a contemporary overview for specialists the field. The chapters are based on the latest data presented at the 7th Trends in Head and Neck Oncology Conference and reflect the most up-to-date information in the field
Louis-Charles Damais, un humaniste en Indonésie. Détails d'une vie à Java à travers sa correspondance
No full textJean-Pascal Elbaz
Through a reading of the excerpts of the unpublished correpondence of Louis- Charles Damais, stored in Jakarta, the author attempts to reconstitute the life of a researcher working in Indonesia at the crucial time when the country was making its transition from Dutch colonisation to independence. This short essay points up the problems, both professional and material, which Damais had to face in a country dislocated by the rapid succession of political changes. This article also considers the humanist view of a Westerner for a people trying to regain its dignity by struggling against a colonial system, which Damais himself held to be morally unjustified.Elbaz Jean-Pascal. Louis-Charles Damais, un humaniste en Indonésie. Détails d'une vie à Java à travers sa correspondance. In: Archipel, volume 54, 1997. Destins croisés entre l'Insulinde et la France. pp. 243-252
Poetry of Thoughts : Pascal writing’s voice and musicality
No full textCette thèse se propose d'écouter les "Pensées" de Pascal. Dans quelle mesure Pascal, fils d'un organiste amateur et jeune auteur d'un "Traité des sons", s'est-il approprié l'univers sonore de son époque pour composer une œuvre dont les rythmes n'ont cessé d'étonner, de réveiller et d'entraîner ses lecteurs ? Pascal écrit-il « comme un musicien », selon l'hypothèse de Jean Mesnard ? Étudier la musicalité des "Pensées" suppose, tout d'abord, l'analyse de l'énonciation : le contexte prédicatif comme les recherches en acoustique de l'âge classique sont en lien avec une écriture de l'actio, c'est-à-dire une écriture oratoire. C'est par l'ouïe qu'on convertit, rappelle Pascal en citant la "fides ex auditu" paulinienne. La démarche entreprise avec l'écriture des "Pensées" n'est pas sans rappeler les principes des traités de musique de l'époque (ceux de René Descartes, de Marin Mersenne, de Pierre Gassendi...), comme les partitions qui pouvaient être publiées chez Ballard, par exemple. Motets, airs spirituels, Tombeaux et airs de cour composent un paysage sonore encourageant à choisir et à créer des rythmes particuliers, en explorant la « disposition des matières ». La musicalité d'un texte, c'est-à-dire sa prosodie, ses mouvements, son imaginaire, ne se fonde cependant pas sur de la matière sonore en tant que telle. Parler de poésie, et notamment de « poèmes en prose », permet d'étudier le lyrisme pascalien : heurté, dissonant, voire strident, ce lyrisme peut évoquer, pour le lecteur actuel, certaines expérimentations acoustiques de musique contemporaine, par exemple celles d'Edgar Varèse. Le rapport à la voix est pourtant ancré dans les sonorités du XVIIe siècle : l'étude du gémissement et des silences nous ramène au projet de conversion. Ce projet ne peut passer par le lyrisme d'une « éloquence continue » qui resterait à la surface de l'être : les "Pensées" relèvent d'un lyrisme apophatique, engageant le lecteur comme un interprète.This thesis offers to listen to the Thoughts of Blaise Pascal. To what extent Pascal, son of an amateur organist and a young author of Traité des sons, did he identify with the universe of sound of his period to compose a work which rythms kept on astonishing, waking up and bring with them its readers ? Does Pascal write 'like a musician' according to Jean Mesnard 's assumption ? Studying musicality the Thoughts means, first of all, the analysis of announcement : the predicative context like researches in sounds of the classical age linked to the writing of the actio, that is to say , oratory writing. It's trough the ear that we convert recalls Pascal, quoting the pauline just like the thought 'fides ex auditu '. The initiative taken with the writing of the Thoughts is not without recalling the principles of the ageements of music at that period — those of René Descartes, Marin Mersenne and Pierre Gassendi...— like the score published by Ballard, for instance. Motets, spiritual melodies, tombeau, airs de cour, compose a sound landscape encouraging to chose and to create specific rythms by exploring the 'disposition des matières ' (fragment 575). The musicality of a text – its prosody, its moves, its imaginary world — however , doesn't rely on sound material in its current form. Speaking about poetry and especially, prose poetry allows to study the Pascal's lyricism : hit, dissonant, even strident, for the current reader, some sound experimentations of contemporary music, for instance, the ones of Edgar Varèse. The relation to voice is however fixed in the seventeenth century sounds : the study of whining and silence brings us back to conversion project. This project can't go with continuous eloquence (fragment 636) which would remain at the human being 's surface. The Thoughts belong to an apothatic lyricism, involving the reader like a performer
Langage et filialité dans l'œuvre de Jean Grosjean
No full textBy Jean Grosjean, french poet, critic, author of translations and stories, the Word is named « language ». So every man is called, here and now, to be born as disciple as through language. Jean Grosjean learn us to be sons of the Father, as the « language ». He assimilitates the poetic stance to a pathway of pascal adherence.Pour Jean Grosjean, le langage est un chemin. Son œuvre, tant poétique que critique, ses récits, ses traductions, montrent à l'envi que le parler, chez cet auteur, précède l'être. Le recours très marqué à saint Jean fonde le passage d'une théologie essentialiste à celle, supérieure, du dialogue dans le cœur de Dieu. Dans toute son œuvre, Grosjean ne dissocie jamais le Père du Fils. La vérité même du dialogue en Dieu détermine celle des interlocuteurs privilégiés - les « êtres de langage » - appelés comme Dieu à sortir d'eux-mêmes pour exister. Parler, écrire, laisser les Écritures s'accomplir dans l'écriture même, c'est retrouver l'« abnégation » et l'« abandon » du Père dans la « gloire du Fils ».Lorber Jean-Luc. Langage et filialité dans l'œuvre de Jean Grosjean. In: Revue des Sciences Religieuses, tome 74, fascicule 4, 2000. pp. 466-486
Induction Chemotherapy: Does It Have a Place in Oral Cavity Cancer?
No full textThe treatment of choice for locally advanced resectable oral cavity cancer is surgery followed by (chemo)radiation. Two randomized phase III trials investigated induction chemotherapy followed by surgery in patients with squamous cell oral cavity cancers. These two trials did not demonstrate the superiority of the induction arms. However, patients with a clinical response or favorable pathologic response had a better outcome compared with patients with no or limited response to induction. A meta-analysis of these two trials suggested that induction chemotherapy could be useful for patients with clinical N2 disease. No randomized trials have properly investigated if induction chemotherapy before the loco-regional treatment in case of unresectable oral cavity cancer could be beneficial. Further clinical trials are needed to better define the role of induction chemotherapy in unresectable and resectable oral cavity cancer
Il cuore e la critica della ragione. Ripartire da Laporte
No full textThe author presents the Italian translation of the text by Jean Laporte "Le coeur et la raison selon Pascal", identifying in the hearth a critic instance of reason. This reflection is conducted through the reference to the work of Jean Luc Marion in his essay on Negative Certainties
Characterization of Preoperative, Postsurgical, Acute and Chronic Pain in High Risk Breast Cancer Patients
No full textFunding: The Ketorolac in Breast Cancer trial has been supported by the Anticancer Fund, the Belgian Society of Anaesthesia and Resuscitation, the Fondation Saint-Luc, and the Commission du Patrimoine of the Université catholique de Louvain, Cliniques universitaires Saint-Luc. Acknowledgments: Membership of the KBCt Group, Aline van Maanen, Gauthier Bouche, Alain Dekleermaker, Francois P Duhoux, Marc De Kock, Martine Berliere, Pierre Coulie, Jan Decloedt, Jean-Edouard Guillaume, Marc Ledent, Jean-Pascal Machiels, Véronique Mustin, Walter Swinnen, Lionel Vander Essen, and Jean-Christophe Verougstraete.Peer reviewe
¿Descartes o Pascal? La brújula metafísica de Jean-Luc Marion
No full textMost philosophers use to say that Jean-Luc Marion's phenomenology of givenness is paradigmatically based on the work of René Descartes. This assertion can be justified due to the large number of texts that Marion dedicated to the French thinker, renewing his interpretation in the mid-1970s, as well as to the central role he occupies in his work. However, the author shows that, paradoxically, what interests Marion in Descartes are the problems that he could not solve, as well as the failures of his project to quantify the totality of the fields as evidenced by the problem of the flesh as well as the idea of infinity. Thus, the possibility of another foundation of the phenomenology of givenness opens up, no longer in Descartes but in Pascal, who assumed the need, for philosophy, to free itself from metaphysics and to think from an order superior to that of the mind, from the order of charity.On dit souvent que la phénoménologie de la donation de Jean-Luc Marion se fonde de manière paradigmatique sur l'œuvre de René Descartes. Cette affirmation repose sur le grand nombre de textes que Marion a consacrés au penseur français, renouvelant son interprétation au milieu des années 1970, ainsi que sur le rôle central qu'il occupe dans son œuvre. Cependant, l'auteur montre que, paradoxalement, ce qui intéresse Marion chez Descartes ce sont les problèmes que ce dernier n'a pas pu résoudre, ainsi que les échecs de sa volonté de quantifier la totalité des champs, comme le montrent tant le problème de la chair que celui de l'idée de l'infini. Ainsi, s'ouvre la possibilité d'un autre fondement de la phénoménologie de la donation, non plus en Descartes mais en Pascal, qui a assumé la nécessité, pour la philosophie, de se libérer de la métaphysique et de penser depuis un ordre supérieur à celui de l'esprit : l'ordre de la charité.Se suele decir que la fenomenología de la donación de Jean-Luc Marion se fundamenta de manera paradigmática en la obra de René Descartes. Esta afirmación se basa en el gran número de textos que Marion dedicó al pensador francés, renovando su interpretación a mediados de los años 1970, así como en el papel central que ocupa en su obra. Sin embargo, el autor muestra que, paradójicamente, lo que le interesa a Marion en Descartes, son los problemas que éste no pudo resolver, así como los fracasos de su voluntad de cuantificar la totalidad de los campos como lo evidencian tanto el problema de la carne como el de la idea del infinito. Así, se abre la posibilidad de otro fundamento de la fenomenología de la donación ya no en Descartes sino en Pascal, quien asumió la necesidad, para la filosofía, de liberarse de la metafísica y de pensar desde un orden superior al del espíritu: el orden de la caridad
Descartes ou Pascal ? La boussole métaphysique de Jean-Luc Marion
No full textMost philosophers use to say that Jean-Luc Marion\u27s phenomenology of givenness is paradigmatically based on the work of René Descartes. This assertion can be justified due to the large number of texts that Marion dedicated to the French thinker, renewing his interpretation in the mid-1970s, as well as to the central role he occupies in his work. However, the author shows that, paradoxically, what interests Marion in Descartes are the problems that he could not solve, as well as the failures of his project to quantify the totality of the fields as evidenced by the problem of the flesh as well as the idea of infinity. Thus, the possibility of another foundation of the phenomenology of givenness opens up, no longer in Descartes but in Pascal, who assumed the need, for philosophy, to free itself from metaphysics and to think from an order superior to that of the mind, from the order of charity.Se suele decir que la fenomenología de la donación de Jean-Luc Marion se fundamenta de manera paradigmática en la obra de René Descartes. Esta afirmación se basa en el gran número de textos que Marion dedicó al pensador francés, renovando su interpretación a mediados de los años 1970, así como en el papel central que ocupa en su obra. Sin embargo, el autor muestra que, paradójicamente, lo que le interesa a Marion en Descartes, son los problemas que éste no pudo resolver, así como los fracasos de su voluntad de cuantificar la totalidad de los campos como lo evidencian tanto el problema de la carne como el de la idea del infinito. Así, se abre la posibilidad de otro fundamento de la fenomenología de la donación ya no en Descartes sino en Pascal, quien asumió la necesidad, para la filosofía, de liberarse de la metafísica y de pensar desde un orden superior al del espíritu: el orden de la caridad.On dit souvent que la phénoménologie de la donation de Jean-Luc Marion se fonde de manière paradigmatique sur l\u27œuvre de René Descartes. Cette affirmation repose sur le grand nombre de textes que Marion a consacrés au penseur français, renouvelant son interprétation au milieu des années 1970, ainsi que sur le rôle central qu\u27il occupe dans son œuvre. Cependant, l\u27auteur montre que, paradoxalement, ce qui intéresse Marion chez Descartes ce sont les problèmes que ce dernier n\u27a pas pu résoudre, ainsi que les échecs de sa volonté de quantifier la totalité des champs, comme le montrent tant le problème de la chair que celui de l\u27idée de l\u27infini. Ainsi, s\u27ouvre la possibilité d\u27un autre fondement de la phénoménologie de la donation, non plus en Descartes mais en Pascal, qui a assumé la nécessité, pour la philosophie, de se libérer de la métaphysique et de penser depuis un ordre supérieur à celui de l\u27esprit : l\u27ordre de la charité
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