1,720,964 research outputs found
Simmel Georg, Les problèmes de la philosophie de l'histoire. Une étude d'épistemologie.
No full textSagnol Marc. Simmel Georg, Les problèmes de la philosophie de l'histoire. Une étude d'épistemologie.. In: Revue française de sociologie, 1987, 28-1. pp. 148-150
Des Passages Parisiens à la rue Simon-Crubellier. À propos de quelques motifs benjaminiens chez Perec
No full textSagnol Marc. Des Passages Parisiens à la rue Simon-Crubellier. À propos de quelques motifs benjaminiens chez Perec. In: Littératures 7, printemps 1983. Georges Perec. pp. 91-98
Simmel Georg, Philosophie de l'argent.
No full textSagnol Marc. Simmel Georg, Philosophie de l'argent.. In: Revue française de sociologie, 1988, 29-4. Sociabilité et action collective. pp. 691-695
Théorie de l'histoire et théorie de la modernité chez Benjamin
No full textSagnol Marc. Théorie de l'histoire et théorie de la modernité chez Benjamin. In: L'Homme et la société, N. 69-70, 1983. Actualité des philosophes de l'École de Francfort. pp. 79-93
Durkheim et le pragmatisme. La psychologie de la conscience et la constitution sociale des catégories
No full textHans Joas : Durkheim und der Pragmatismus. Bewusstseinspsychologie und die soziale Konstitution der Kategorien
Emile Durkheim hat nach der Veróffentlichung seines letzten Hauptwerks, der "Elementaren Formen des religiosen Lebens", Vorlesungen uber "Pragmatismus und Soziologie" gehalten. Diese wurden erst spát (1955) veröffentlicht und in der Rezeption kaum beachtet. Dies hängt zweifellos mit einer ungenügenden Kenntnis der Bedeutung des Pragmatismus für eine Theorie des Sozialen zusammen. In diesem Beitrag wird Durkheims Auffassung vom Pragmatismus als einem "logischen Utilitarismus" eine Interpretation des Pragmatismus als fundamental utilitarismuskritischer Handlungstheorie entgegengehalten. Nachdem so der Pragmatismus und Durkheims Theorie einer sozialen Konstitution der Kategorien des Erkennens als parallele Projekte verstândlich gemacht werden, können dann die immanenten Schwierigkeiten in Durkheims eigenem Programm und Durkheims Kritik am Pragmatismus gegeneinander abgewogen werden. Daraus ergibt sich die Einsicht in das Fehlen einer Theorie alltaglicher symbolvermittelter Interaktion bei Durkheim einerseits, in die Bedeutung ausseralltäglicher Handlungszusammenhänge für die Konstitution kollektiver Identitäten andererseits.Hans Joas : Durkheim and pragmatism. Mentalist psychology and the social constitution of categories of knowledge
After the publication of his last major work, "The Elementary Forms of the Religious Life", Emile Durkheim gave a series of lectures entitled "Pragmatism and Sociology". These were published very late (1955) and received hardly any attention in the reception of Durkheim's work. It is no question that this is due to the insufficient recognition of the importance of pragmatism for a theory of the social. In this article Durkheim's conception of pragmatism as "logical utilitarianism" is opposed by an interpretation of pragmatism as a theory of action fundamentally critical toward utilitarianism. After showing the parallelism between pragmatism and Durkheim's theory of the social constitution of categories of knowledge the inherent difficulties in Durkheim's own program and Durkheim's critique of pragmatism can be balanced. This leads to the insight, on the one hand, into the lack of a theory of everyday symbolically mediated interaction in Durkheim, and into the importance of action contexts apart from everyday forms for the constitution of collective identities, on the other hand.Hans Joas : Durkheim et le pragmatisme. La psychologie de la conscience et la constitution sociale des catégories.
Après la publication de sa dernière œuvre majeure « Les formes élémentaires de la vie religieuse » Durkheim a fait une série de conférences sur « Pragmatisme et sociologie » qui ont dû attendre 1955 pour être publiées et sont d'ailleurs passées à peu près inaperçues. Cela tient certainement à une connaissance insuffisante de l'importance du Pragmatisme pour une théorie du Social. Cet article oppose la conception durkheimienne du Pragmatisme — « Utilitarisme logique » — à une interprétation qui en fait une théorie de l'action et une critique fondamentale de l'Utilitarisme. Ce n'est qu'après avoir montré que le Pragmatisme et la théorie durkheimienne d'une constitution sociale des catégories de la connaissance constituent des projets parallèles que l'on peut mettre en balance les difficultés immanentes au programme de Durkheim et sa critique du Pragmatisme. On constate alors que d'une part manque chez Durkheim une théorie de l'Interaction symbolique dans la vie quotidienne et que, d'autre part, les configurations d'activités qui se situent hors du quotidien sont d'une grande importance pour la constitution des identités collectives.Joas Hans, Sagnol Marc. Durkheim et le pragmatisme. La psychologie de la conscience et la constitution sociale des catégories. In: Revue française de sociologie, 1984, 25-4. pp. 560-581
Dzieciństwo, kicz i manekiny. Magiczne doświadczenia i przeżycia Waltera Benjamina i Brunona Schulza
Full text linkIn this article, presented in July 2005 at the Cerisy-la-Salle symposium on Walter Benjamin, the author attempts to highlight some similarities in thought and inspiration between Benjamin and Bruno Schulz, particularly in their approach to childhood and their fascination with kitsch, knick-knacks, wigs, and mannequins. Marc Sagnol begins by comparing Benjamin’s Berlin Childhood with Schulz’ Cinnamon Shops, noting the importance for both writers of the ‘imperial panorama’ or ‘panopticon’ of their childhood, and of the theater as a metaphysical event that divides the world into an immediate and a fictitious reality. Just as Schulz has a predilection for junk and all things futile, mannequins, wax figure cabinets, and postage stamps from exotic or lost countries, so Benjamin is interested in the nineteenth-century ‘kitsch’, which he theorizes in Passages, collectors, wax figures from the Musée Grévin, automata and curiosity cabinets that he finds in the passages. A troubling example of their intellectual a nities is their shared interest in Anna Csillag, the woman with long hair whom Benjamin thought he saw in a wigmaker’s window in a passageway, while for Schulz, this character discovered in an almanac is like the matrix of the Book itself, in a famous fragment of the Sanatorium under the Sign of the Hourglass.In conclusion, Sagnol imagines a meeting that could have taken place between the two writers, in a passageway or at the Musée Grévin, during Schulz’s stay in Paris in August 1938. Unfortunately, Benjamin was at that time playing chess in Denmark with his friend Brecht.This text partially inspired a literary work, À Paris, égaré, by Dominique Hérody (2019).In this article, presented in July 2005 at the Cerisy-la-Salle symposium on Walter Benjamin, the author attempts to highlight some similarities in thought and inspiration between Benjamin and Bruno Schulz, particularly in their approach to childhood and their fascination with kitsch, knick-knacks, wigs, and mannequins. Marc Sagnol begins by comparing Benjamin’s Berlin Childhood with Schulz’ Cinnamon Shops, noting the importance for both writers of the ‘imperial panorama’ or ‘panopticon’ of their childhood, and of the theater as a metaphysical event that divides the world into an immediate and a fictitious reality. Just as Schulz has a predilection for junk and all things futile, mannequins, wax figure cabinets, and postage stamps from exotic or lost countries, so Benjamin is interested in the nineteenth-century ‘kitsch’, which he theorizes in Passages, collectors, wax figures from the Musée Grévin, automata and curiosity cabinets that he finds in the passages. A troubling example of their intellectual a nities is their shared interest in Anna Csillag, the woman with long hair whom Benjamin thought he saw in a wigmaker’s window in a passageway, while for Schulz, this character discovered in an almanac is like the matrix of the Book itself, in a famous fragment of the Sanatorium under the Sign of the Hourglass.In conclusion, Sagnol imagines a meeting that could have taken place between the two writers, in a passageway or at the Musée Grévin, during Schulz’s stay in Paris in August 1938. Unfortunately, Benjamin was at that time playing chess in Denmark with his friend Brecht.This text partially inspired a literary work, À Paris, égaré, by Dominique Hérody (2019)
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
- …
