2,454 research outputs found
At certe videre videor. Cartesio alla prova di Pascal
No full textThe author proposes a comparison between Descartes and Pascal starting from the common pathic background in which the theory is generated for both. And yet, despite the common basis, Pascal's difference emerges even more acutely and goes in the direction of a radical exposition of the subject
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
L'ordine dell'amore in Blaise Pascal
No full textThe author focuses on the question of love in Pascal which finds its most exhaustive treatment in the fragment on the three orders. Furthermore, it focuses on the epistemological and ethical implications of Pascal's thesis
Platone per disporre a Pascal
No full textPrendendo spunto dal frammento di Pascal «Platone per disporre al cristianesimo», l’autrice intercetta una nuova disposizione di Platone a Pascal, basata sull’ordine dell’amore che per entrambi è centrale. Questa operazione ha un duplice scopo: consentire a Pascal di essere incluso nel campo della filosofia e valorizzare l’invenzione platonica della philo-sophiaTaking a cue from Pascal’s fragment «Platon pour disposer au christia- nisme», the author sets a new disposition of Plato to Pascal, based on the order of love that both philosophers present. This operation has a double philosophical aim: to allow Pascal to be included in the field of philosophy and to valorise the Platonic invention of philo-sophia
First person - Aude Pascal
No full textInternational audienceFirst Person is a series of interviews with the first authors of a selection of papers published in Journal of Cell Science, helping early-career researchers promote themselves alongside their papers. Aude Pascal is first author on `Annexin A2 and Ahnak control cortical NuMA-dynein localization and mitotic spindle orientation', published in JCS. Aude is a research assistant in the lab of Re ' gis Giet at University of Rennes, France, who is particularly interested in developmental biology. She has always been struck by the fact that a whole organism displaying multiple functions arises from a single cell. For this reason, she has oriented her research on mitosis and meiosis to study the different steps, components and structures involved in these processes
Pascal Tutorial, 1987
No full textThere exists a limited number of tutorials for the Pascal programming language using the Apple Computer. The demand for these tutorials exceeds the supply. In this thesis an attempt was made to rectify this shortage by designing a Pascal tutorial for the Apple computer. This Pascal tutorial is designed to assist with instructing an introductory computer programming course in Pascal, incorporating Apple Superpilot as the authoring language. Emphasis is placed on making the program "user friendly." A person with no previous programming experience should be able to easily execute this tutorial. The information presented as the subject matter of the tutorial will follow the guidelines recommended by the Association for Computing Machinery
Sultan Qaytbay Sabil-Kuttab and Wakala Complex at Al-Azhar
No full textThe earliest stand-alone Sabil-Kuttab in Cairo, it establishes the type as a pietistic endowment in the urban milieu without it being attached to a larger religious complex.exterior, wakala portal, "Vue de la Porte de l'Okel Kaid-Bey," color plate XLII of Pascal Coste's "Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826", 1818-182
Prefazione a Pascal e la filosofia
No full textThe author presents the distinctive features of the work "Pascal e la filosofia"
Measurement of the D+/- production asymmetry in 7 TeV pp collisions
No full textThe asymmetry in the production cross-section \sigma of D+/- mesons, A_P = (\sigma(D+) - \sigma(D-))/(\sigma(D+) + \sigma(D-)), is measured in bins of pseudorapidity \eta and transverse momentum p_T within the acceptance of the LHCb detector. The result is obtained with a sample of D+ -> K_S pi+ decays corresponding to an integrated luminosity of 1.0 fb^-1, collected in pp collisions at a centre of mass energy of 7 TeV at the Large Hadron Collider. When integrated over the kinematic range 2.0 K_S pi+ decay is negligible. No significant dependence on \eta or p_T is observed
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
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