1,720,962 research outputs found
Loris Sturlese, Eckhart, Tauler, Suso. Filosofi e mistici nella Germania medievale
No full textMolinari Jonathan. Loris Sturlese, Eckhart, Tauler, Suso. Filosofi e mistici nella Germania medievale. In: Revue Philosophique de Louvain. Troisième série, tome 109, n°2, 2011. pp. 368-371
Loris Sturlese, Eckhart, Tauler, Suso. Filosofi e mistici nella Germania medievale
No full textMolinari Jonathan. Loris Sturlese, Eckhart, Tauler, Suso. Filosofi e mistici nella Germania medievale. In: Revue Philosophique de Louvain. Troisième série, tome 109, n°2, 2011. pp. 368-371
Tullio Gregory, Speculum naturale. Percorsi del pensiero medievale
No full textMolinari Jonathan. Tullio Gregory, Speculum naturale. Percorsi del pensiero medievale. In: Revue Philosophique de Louvain. Troisième série, tome 109, n°2, 2011. pp. 378-380
Tullio Gregory, Speculum naturale. Percorsi del pensiero medievale
No full textMolinari Jonathan. Tullio Gregory, Speculum naturale. Percorsi del pensiero medievale. In: Revue Philosophique de Louvain. Troisième série, tome 109, n°2, 2011. pp. 378-380
Pietro Pomponazzi entre traditions et innovations. Sous la direction de Joël Biard, Thierry Gontter
No full textMolinari Jonathan. Pietro Pomponazzi entre traditions et innovations. Sous la direction de Joël Biard, Thierry Gontter. In: Revue Philosophique de Louvain. Troisième série, tome 110, n°2, 2012. pp. 382-384
Humanism and Anti-humanism: a Judgement on “Modernity”
No full textThis chapter deals with the historical-philosophical debate opposing humanism and
anti-humanism within a larger context of controversies over modernity. It takes into
consideration the positions of authors such as Sartre, Heidegger, Garin, and Grassi.
It highlights the tension between the concept of man as a free and historical being,
characteristic of Renaissance humanism, and the anti-humanist critique that rejects
a metaphysical essence of humanity. Heidegger problematizes the very concept of
humanism, while Grassi and Garin defend its historical and philosophical value,
emphasizing the centrality of poetic language. This chapter also considers the rela-
tionship between humanism and Marxism, showing how the debate has influenced
20th-century philosophy. This chapter aims at a critical reassessment of humanism
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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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