Judaïsme : entre impératifs éthiques et normes religieuses.

(Résumé de l'ouvrage) Nos sociétés contemporaines, à l'heure de la mondialisation, ont-elles perdu le sens de l'hospitalité ? Qu'en est-il de ses fonctions et de ses figures à la fois morales, politiques, religieuses et imaginaires ? Lorsque Ulysse abordait un nouveau rivage, la même question revenait : Vais-je trouver des brutes, des sauvages sans justice ou des hommes hospitaliers craignant les dieux ? L'hospitalité a toujours été signe de civilisation et d'humanité, et les pérégrinations d'Ulysse ont su dresser une géographie imaginaire du monde humain, dessinant les contours et traçant les limites de la culture et de la nature. Considérant qu'il est urgent de retrouver cette mémoire hospitalière du monde humain, plus de quatre-vingt-dix auteurs du monde entier ont rassemblé leurs savoirs des us et coutumes, des lieux, des cultures, des représentations, des mythes et des oeuvres d'art qui font de l'hospitalité la plus indispensable des valeurs humaines. Philosophes, historiens, ethnologues, littéraires, linguistes... invitent le lecteur, leur hôte, à découvrir le vaste parcours ouvert des significations et des pratiques de l'accueil dans l'histoire culturelle. Have modern day societies in this era of globalization forgotten the sense of hospitality? Hospitality is a principle which used to play a major social function, with its symbolic, ethical, political and religious figures. This book is designed to preserve the memory of the tradition of hospitality. To that end 90 authors from throughout the world have collaborated to present this exhaustive encyclopedia of the places, the customs, the cultures, the myths and the artistic representations of hospitality, all of which bear witness to its importance as a human value. Philosophers, historians, ethnologists, writers, linguists welcome the reader to discover the place that hospitality has had in cultural history, in terms of both how and why it was practised. - This book offers a fivefold treatment of the perennial tradition of hospitality: - Definitions - Civilizations (throughout history and across religions and cultures) - Institutions and places of hospitality, both real and imaginary (castles, hospitals, gardens, churches, etc.) - Myths, figures and artistic representation - Philosophy, politics and society.

Le regard d'un psychiatre sur les écrits de la folie : la carrière de Hans Steck à l'Asile psychiatrique de Cery (1920-1960)

Quelles représentations de la schizophrénie les psychiatres vont-ils construire à travers l'étude des écrits asilaires des patients et des scientifiques dans la première moitié du XXème siècle? Le psychiatre helvétique Hans Steck (1891-1980), qui a travaillé à l'Asile psychiatrique de Cery de 1920 à 1960 et qui s'est fait connaître du public grâce à l'oeuvre d'Aloïse Corbaz, reconnue comme auteure d'art brut par Jean Dubuffet en 1945, constitue le fil rouge de la thèse. Dans le contexte des mouvements tels que Γ "art psychopathologique" et Γ "art brut", Steck étudie les théories de "la mentalité primitive et les peintures magiques des schizophrènes". En 1927, il se tourne vers les théories évolutionnistes de la régression et les premières études de Lévy-Bruhl pour avancer l'idée qu'il existe un "parallélisme schizo-primitif'. Puis il développe des explications de la pensée délirante, à partir des théories exposées lors du Premier Congrès International de Psychiatrie en 1950. Enfin, adoptant la perspective phénoménologique, il explique que "la fonction de l'art et la fonction du délire visent à reconstituer un monde viable pour le malade". En ce sens, l'expression artistique, bien que n'entrant pas dans le champ de la psychothérapie, fournit des indicateurs de l'état psychique du malade en même temps qu'elle contribue à son bien-être. Sont abordés les problèmes concernant la reconnaissance de Γ "auteur" interné, dont les oeuvres appartiennent soit aux archives médicales, soit au musée. La pérennité des critères qui définissent les oeuvres d'"art psychopathologique" ou d'"art brut" est également mise en question. Enfin, le rôle essentiel de l'écriture à l'hôpital, tant pour les patients que pour les soignants, fait l'objet de nombreux développements. - What representations of schizophrenia have psychiatrists been constructing when studying writings by patients and scientists in mental asylums in the first half of the 20th century? The Swiss psychiatrist Hans Steck (1891-1980) is the protagonist of this dissertation. From 1920 to 1960, he has been working at the "Asile psychiatrique de Cery" near Lausanne. Steck is known thanks to the paintings of Aloïse Corbaz, an artist recognized by Jean Dubuffet as belonging to the "art brut" movement in 1945. In the context of movements like "art psychopathologique" and "art brut," Steck studies theories of "primitive character and magic paintings of schizophrenics." In 1927, Steck engages with theories of regression and Lévy-Bruhl's early studies in order to push the idea of a "parallelism schizo-primitif." On the occasion of the First International Congress of psychiatry held in Paris in 1950, Steck develops explanations for the "pensée délirante." Finally, turning to a phenomenological point of view, he explains, "the function of art and the function of the delusion help the patient to reconstruct a viable environment for the sick person." In this way, artistic expression is not thought of as a psychotherapeutical means, but provides insight into the state of mind of a mentally sick person at the same time as contributing to his well-being. The dissertation discusses whether the "author's" work belongs in medical archives or museums. The continuity of "psychopathological art" and "art brut" criteria will be discussed. Finally, the essential role that writing played in the hospital for the patients as well as for the medical staff is presented.

Atlas-based segmentation of pathological MR brain images using a model of lesion growth.

We propose a method for brain atlas deformation in the presence of large space-occupying tumors, based on an a priori model of lesion growth that assumes radial expansion of the lesion from its starting point. Our approach involves three steps. First, an affine registration brings the atlas and the patient into global correspondence. Then, the seeding of a synthetic tumor into the brain atlas provides a template for the lesion. The last step is the deformation of the seeded atlas, combining a method derived from optical flow principles and a model of lesion growth. Results show that a good registration is performed and that the method can be applied to automatic segmentation of structures and substructures in brains with gross deformation, with important medical applications in neurosurgery, radiosurgery, and radiotherapy.

Understanding Van Gogh's Night: bipolar disorder

Vincent Van Gogh (1853-1890) imparted in his art a deep essence of life, and in such a unique way that many would say it is possible to experience it vicariously by looking at his paintings even once. In 10 years, while exerting mental and physical efforts that may well have contributed to his premature death, he produced an impressive number of masterpieces. However, the specific neurological disorder Van Gogh suffered and how this may have influenced his art is still not clear. The combination of his eccentric personality, irascible temper, unstable moods and prolific creativity, makes the understanding of his illness a very complex endeavor and therefore poses a great challenge to those who investigate the relationships between the 'artistic mind', the brain and illness. In fact, most of the diagnoses (nearly 30) proposed for Van Gogh, during the last century, are not based on medical evidence but are ascertainable from analyses of his paintings and biographical data. Although no definitive diagnosis can be made based on such evidence, we conclude that according to DSM-IV criteria and findings extrapolated from his letters, Van Gogh is most likely to have suffered a bipolar disorder, affective or schizoaffective, which caused his death by suicide.

Discours économique et évolution institutionnelle, les apports de J. R. Commons

John Roger Commons est, de manière quasi systématique, considéré comme l'un des pères fondateurs de l'ancien institutionnalisme américain. On souligne tout aussi couramment l'influence que la philosophie pragmatiste a pu avoir sur ses travaux, du moins en ce qui concerne son ouvrage de 1934. Plus rares sont les commentateurs soulignant le rôle qu'a le langage, a fortiori le langage de l'économiste, dans l'analyse qu'il fait de l'évolution institutionnelle. Notre but sera de souligner ce fait : pour Commons, dire c'est faire, dans la lignée de la linguistique performativiste, dire c'est agir sur l'évolution institutionnelle. Abstract : John Roger Commons is well known as one of the founders of old institutionnalism. It is current to emphazise his philosophical roots : the american pragmatism, at least in his masterpiece of 1934. On the other hand, it is less frequent to point out the important role that the langage, and a fortiori economics' langage, has in his understanding of institutional evolution. Our aim will be to spotlight this point : for Commons, we can do things with words, on the way of performativist linguistic, when we use words, we influence institutional evolution.

La "bientraitance", exploration du concept et essai d'utilisation en santé publique: une expérience à Fribourg (Suisse). ["Bientraitance": conceptual exploration and an example of its application in public health: an experience from Fribourg, Switzerland]

Since the year 2000, the concept of "bientraitance" (for which no equivalent term has yet emerged in either the English or German language) has gained widespread credence among educators, sociologists and health professionals in France and Belgium. This concept emphasizes a constructive approach to care and education rather than merely one of prevention of disasters. Applied in public health, and in particular to mental health promotion, the use of the concept of "bientraitance" can help promote both effectiveness and meaning in the design and planning of community interventions. The article presents an example of an intervention for children and adolescents in Fribourg, Switzerland. The underpinning hypothesis is that the children and youth groups (such as sports clubs, artistic and cultural associations, scouts and guides) represent largely untapped, or under-tapped, informal health resources with a favourable cost-effectiveness profile. "Bientraitance" criteria are used in selecting certain associations offering structured extracurricular group educational activities and collective out-of-school (or after school) programmes. Support is provided to the organisations selected for recruiting new members, in particular those with potentially lower levels of access, for example disabled children or new migrants. The results will be evaluated for the impact of participation in various out-of-school activities on health and health determinants from a prospective and comparative perspective. This paper shows how the concept of "bientraitance" can be useful in the development of a public health intervention.

How diverse is Cologne Carnival? How migrants appropriate popular art spaces

The present article contributes to the ongoing academic debate on migrants' appropriation of artistic and political spaces in Germany. Cologne, one of the largest cities in Germany, is an interesting example of the tension between political discourse centred around multiculturalism and cultural segregation processes. The 'no fool is illegal' carnival organised by asylum seekers shows their capacity to act, as they reinvent an old local tradition by reinterpreting medieval rituals. Today, different groups and associations appropriate this festive art space: migrants, gays and lesbians, feminists and far-left groups either organise their own parties or take part in the official parties and parades as separate groups. As a result, the celebration of diversity figures on the local political agenda and becomes part of the official carnival festivities. This leads to a blurring of boundaries, whereby mainstream popular culture becomes more and more influenced by multicultural elements.

Les artistes visuels au Yémen, du soutien à la contestation de l'ordre politique

Cette thèse appréhende les rapports au politique des artistes visuels yéménites dans un contexte de domination, recouvrant trois États (les deux républiques qui précédent l'unification du Yémen et la république actuelle créée en 1990, jusqu'en 2015). En étudiant la domination en acte à travers une démarche ethnographique, ce travail interroge les conditions de production et d'action des artistes en soutien ou en contestation au régime, comme au cours du moment révolutionnaire de 2011. On observe ainsi le processus de politisation des mondes de l'art au Yémen contemporain, processus compris en tant qu'acquisition d'une signification politique par la pratique artistique et par les réseaux de relations entretenus par les artistes visuels. Ces requalifications de leur travail ou de leurs actions se font dans un contexte traversé par des luttes concurrentielles pour la répartition du pouvoir, aussi bien internes et propres à leurs mondes d'activité, qu'externes et en relation à l'espace politique institutionnel. La politisation des mondes de l'art apparaît dès lors moins comme un instrument d'accès à cet espace qu'une voie pour accéder à plus de visibilité, à la reconnaissance, et à un meilleur positionnement dans les rapports agonistiques qui configurent ces mondes. -- This thesis focuses on the study of Yemeni visual artists' relation to politics in a context of domination, covering three States (the two republics that precede Yemen's unification and the current republic established in 1990, until 2015). Studying domination in action througli an ethnographic approach, this work questions artists' conditions of production and of action in support to or in contestation of the regime- as in the case of the revolutionary period of 2011. It observes the politicization of art worlds in contemporary Yemen, a process understood as the acquisition of a political significance as observed in the artistic practice and in the dynamic networks that artists maintain. The requalification and reclassification of their work and their actions that results from the politicization of art worlds, takes place in a context of competitive struggles over distribution and access to sites of power. Such conflict over power occurs within their own worlds of activity as well as outside them and in relation to the domain of institutional politics. This thesis contends that the politicization of art worlds is more of a means to access visibility and recognition than a resource to participate in the political field. Through the politicization of art, artists are able to better position themselves within the agonistic relations that exist within art worlds.

How diverse is Cologne Carnival? How migrants appropriate popular art spaces

The present article contributes to the ongoing academic debate on migrants' appropriation of artistic and political spaces in Germany. Cologne, one of the largest cities in Germany, is an interesting example of the tension between political discourse centred around multiculturalism and cultural segregation processes. The 'no fool is illegal' carnival organised by asylum seekers shows their capacity to act, as they reinvent an old local tradition by reinterpreting medieval rituals. Today, different groups and associations appropriate this festive art space: migrants, gays and lesbians, feminists and far-left groups either organise their own parties or take part in the official parties and parades as separate groups. As a result, the celebration of diversity figures on the local political agenda and becomes part of the official carnival festivities. This leads to a blurring of boundaries, whereby mainstream popular culture becomes more and more influenced by multicultural elements.