Essentialism i religionsundervisningen : Ett religionsdidaktiskt problem

Essentialist concepts of religion are common in the teaching of religion in schools and to a certain extent also in the academic discipline of religious studies. In this article, a number of problems with essentialist perceptions of religion are discussed. In the first part of the article a thesis is maintained, according to which essentialist conceptions of religion or specific religions are too limited to be of value in the teaching of religion. This is done through examples of essentialist expressions about religion. The examples are grouped according to a typology of different kinds of essentialism. Two main categories, each with two sub-categories are identified. Thus, the category of essentialism regarding the substance of religion is divided into transcendental or theological essentialism (which presupposes the existence of a sacred power of some kind, the experience of which is the basis for religion), and core essentialism (where it is presupposed that certain ideas or concepts constitute religion as a general category or specific religions). Likewise, the category of essentialism regarding the function of religion has two sub-categories: positive and negative essentialism. These kinds of essentialism presuppose that religion or specific religions are inherently good or harmful respectively to human beings. Examples from each of these categories are given and discussed. In the second part of the article, Benson Saler’s open concept of religion is presented as an alternative to essentialist or bounded perceptions. It is based on Ludwig Wittgenstein’s idea of family resemblances and on prototype theory. In connection with this, it is argued that a certain kind of conscious ethnocentrism is needed as a point of departure in the study and teaching of religion. The metaphor of education as a journey from the familiar out into the unfamiliar and back again is suggested as a possible pattern for such teaching. Finally,some examples of non-essentialist ways to introduce religions are offered.

La thématique de l’eau dans l’œuvre de Marguerite Duras

The aim of this thematic study is to examine how the water motif is used in Marguerite Duras’s literary work. The study shows that water has multiple functions in these texts: it is linked to major themes and creates an enigmatic atmosphere by its association with the unknown, the inexplicable and the unconscious. The strong presence of water in Duras’s texts is striking. References to the water element can be found in several titles throughout her career, from early works such as Un barrage contre le Pacifique (1950) to La mer écrite (1996), published just after her death. Almost all of her fiction take place near water – and the rain or the sound of waves serve as leitmotifs in specific novels. The water motif can play a metonymic as well as a metaphoric role in the texts and it sometimes takes on human or animalistic characteristics (Chapter 4). Several emblematic Durassian characters (e.g. the beggar-woman, Anne-Marie Stretter and Lol V. Stein) have a close relationship to water (Chapter 5). The water motif is linked to many major Durassian themes, and illustrates themes with positive connotations, for example, creation, fecundity, maternity, liberty and desire, as well as themes with negative connotations such as destruction and death (Chapter 6). A close reading of three novels, La vie tranquille (1944), L’après-midi de Monsieur Andesmas (1962) and La maladie de la mort (1982), shows that the realism of the first novel is replaced by intriguing evocations of the sea and the pond in the second text, motifs which resist straightforward interpretation. The enigmatic feeling persists in the last novel, in which the sea illustrates the overall sombre mood of the story (Chapter 7). Finally, the role of the water element in psychoanalytic theory is discussed (Chapter 8), and a parallel is drawn between the Jungian concept of the mother archetype and the water motif in Duras’s texts. The suggestion is made in this last chapter that water is used to illustrate an oriental influence (Taoist or Buddhist) of some of the female characters in Duras’s work.

En quoi la narration dans le romanL’Élégance du hérisson permet de bien rendre lamétaphore du « bocal à poissons »? : Une analyse narratologique

Sur la base des travaux de Gérard Genette, en particulier Figures III, uneanalyse narratologique du roman L’Élégance du hérisson (2006) de l’auteur MurielBarbery a été effectuée afin de comprendre les liens qu’il y a entre les spécificités dumode narratif et leurs effets sur l’espace du récit, soit « le bocal à poissons », unemétaphore importante du roman. Ultimement nous répondons à la question suivante :En quoi la narration dans le roman L’Élégance du hérisson permet-elle de bien rendrela métaphore du « bocal à poissons »?

Europeisk familjelycka : Om användandet av familjemetaforen i EU

The re-unification of a family of nations: usages of the family metaphor in the EU This article analyses usages of the family metaphor in the EU. It starts up with a scrutiny of feminist theories of the nation-as-family metaphor. Introducing the concept of domopolitics, the author infers that the family, on the one hand, connotes to feelings of security and homelyness and, on the other hand, fears of the well-known, of immanent threats to in-group cohesion. The significance of the family metaphor in the EU rhetoric connects to a renewed emphasis on distinct values, principles and norms that balance the otherwise technocratic image of the EU. He further applies the nation-as-family metaphor to contemporary EU rhetoric. In the analysis, he infers that all three dimensions of the metaphor (ethnic, civil and hierarchic) are manifest in the EU political language making its use an enterprise that strives at moving beyond, but not completely away from the nation-state paradigm.

Mémoire de licence La réception du message donné dans Le Petit Prince : Une étude sur la réception et l’interprétation du message donné dans Le Petit Prince par Antoine de Saint-Exupéry chez l’adulte et l’enfant.

Le présent travail est une étude sur Le Petit Prince, d’Antoine de Saint-Exupéry. Le but principal du mémoire est d’analyser la réception du message chez le lecteur adulte et chez le lecteur enfant. Nous avons analysé comment l’enfant et l’adulte interprètent le message donné par l’oeuvre, parsemée d’images et d’allégories, des citations qui son devenues symboliques avec le temps. Ensuite, nous avons analysé les personnages dans le but d’interpréter leur sens symbolique. Pour réaliser cette recherche, nous avons regardé plusieurs interprétations allégoriques. Les résultats de notre étude nous ont permis d’affirmer que la réception du message n’est pas la même chez le lecteur adulte et le lecteur enfant. Les résultats de cette étude montrent enfin qu’il est trop difficile pour le lecteur enfant de comprendre le sens moral d’une image allégorique, tandis que le lecteur adulte est plus apte à interpréter l’image allégorique en s’appuyant sur son expérience de la lecture et de son expérience de la vie quotidienne. L’auteur utilise l’image symbolique dans la littérature pour montrer avec plus de clarté la condition humaine. En conclusion nous apprenons que Le Petit Prince nous fait réfléchir sur la vie de la façon plus profonde et philosophique.