Se convertir à l'épicurisme : ou comment devenir pieux.

Les épicuriens étaient-ils pieux? Des témoins du moyen et du dernier épicurisme, tels Cicéron et Plutarque, ont eu beaucoup de peine à le croire : selon eux, les épicuriens ne voyaient dans les prêtres que des bouchers, et ne participaient au culte populaire que pour éviter les accusations d’athéisme. Les épicuriens, quant à eux, se sont toujours qualifiés de pieux. L’archéologie nous confirme que les épicuriens ont activement participé au culte populaire, et ce tout au long de l’histoire de l’école. Malgré ces preuves archéologiques, la théologie épicurienne reste problématique : bien que leur éthique fasse des dieux des modèles, il ne semble pas y avoir de place pour les dieux dans leur physique. Que faire, donc, des pratiques rituelles où les dieux sont invoqués, voire où ils sont montrés au moyen d’un support matériel? Pourrait-on réduire la piété épicurienne à un exercice rationnel, froid et distant, au cœur même des temples? Mais cette distance avec le culte ne supposerait-elle pas une certaine hypocrisie, celle-là même qui fut décriée par Cicéron ou par Plutarque? Notre travail entend montrer de quelle manière les épicuriens purent être pieux, de façon non distante, tout en restant cohérents avec le problème philosophique de la représentation des dieux. Cette cohérence ne sera possible qu’au prix d’une « conversion » à l’épicurisme (et à son épistémologie) grâce à laquelle nous pourrons voir les dieux et nous reconnaître nous-mêmes comme des dieux.

La adaptación de Colombia a las políticas antiterroristas impuestas por los Estados Unidos a partir del 11 de Septiembre de 2001

Las consecuencias del 11 de septiembre en materia de seguridad, teniendo en cuenta la evolución de las amenazas y el futuro de las mismas. Se analizarán las políticas antiterroristas promovidas por los EE.UU. después de esa fecha

Marxist Comrades or Capitalist Pigs? : From Musical Proletarians to Musical Capitalists in Roddy Doyle's The Commitments

Marxist themes of Roddy Doyle’s The Commitments have not often been looked at. Yet, they are decidedly prominent. The band make use of a Marxist image and of collectivist easy-played, easily-understood music in order to gain working class listeners. In fact, the band itself is based on an egalitarian structure, until it, due to an increasing individualist wish for success, falls apart. The aim of this essay is thus to argue, through pointing to the Marxist rhetoric of the band and the hypocrisy around it, and through a comparative reading between The Commitments and Orwell’s Animal Farm, that The Commitments has an allegorical value, much like Animal Farm does, when it comes to depicting the way Marxism has worked and failed as it has been practised in reality.

An analysis of Samoan reaction to The Orator (O Le Tulafale)’s Fāgogo defining Samoan identity

The Orator (O Le Tulafale) was promoted as the first Samoan language film shot in Samoa with a Samoan cast and crew. Written and directed by Samoan filmmaker Tusi Tamasese, the film succeeded at several of the movie industry’s prestigious festivals. The Orator (O Le Tulafale) is about an outcast family of a dwarf (Saili), his wife and her teenage daughter. As the main protagonist, Saili battles to overcome his fears to become a chief to save his family and land. The film’s themes are courage, love, honour , as well as hypocrisy, violence, and discrimination. A backlash by Samoans was predicted ; however, the opposite occurred. This raised the following questions: first, what is it about the film causing this reaction? It is a 106 -minute film shot in Samoa about Samoans and the Samoan culture . D espite promotional claims about the film , there have been Samoan -produced films in Samoa . Secondly, to what are Samoans really responding? Is it 1) just to the film because it is about Samoa, or 2) are they responding to themselves , and how they reacted during the act of watching the film? This implies levels of reactions in the act of watching, and examining the dominant level of response is important. To explore this, t he Samoan story telling technique of Fāgogo was used to analyse the film’s narration and narrative techniques. R. Allen’s (1993, 1997) concept of projected illusion was employed to discuss the relationship between Samoans and the film developed during the act of watching. An examination of the term Samoan and a description of the framework of Fa’a Samoa (Samoan culture) were provided. Also included were discussions of memory and its impact on Samoan cultural identity. The analysis indicated that The Orator (O Le Tulafale) acted as a memory prompt through which Samoans recalled memories confirming and defining cultural bonds. These memories constituted the essence of being Samoan. These memories were awakened, and shared as oral histories as fāgogo. The receivers appeared to interpret the shared memories to create their own memories and stories to suit their contexts, according to Facebook postings. An interpretation is that the organic sharing of memories as fā gogo created a global definition of Samoan that Samoans internationally claimed.

O Mandarim (Eça de Queiroz): a sociedade portuguesa do século XIX à luz da sátira menipéia

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

A ironia de Geni e o Zepelim: sujeitos, poderes e mundos no tempo da suspensão

The purpose of this article is to analyze the song "Geni e o Zepelim", by Chico Buarque, from the point of view of the social voices present and orchestrated by the narrator. The hypothesis is that the image of the song uncovers the nation´s prejudice by criticizing the hypocrisy conducted by the narrator. In order to do so the song is used as the corpus of analysis, which is taken as a discursive arena where social voices discuss and combat. Therefore, it is possible to analyze the criticism regarding prostitution prejudice and Geni a transvestite inflicted ironically by the narrator’s voice – projected by the authorship in the song. Based on the dialogism present in the subjects voices in the lyrics, considering Bakhtin´s Circle perspectives. The center of analysis is the ironic relationships of power because the subjects position symbolize distinct social power spheres, which by irony are relativized. Therefore, thinking about these relations means reflecting about the construction of a certain speech in time and space, which collaborates with the reconstruction of subjects and social realities.

Os dramas na prosa onírica de Artemidoro

The objective of this paper is to present a Portuguese translation, with notes and commentary, and the corresponding Greek text of a small excerpt of book I (Onir. I. 56.25 -45), of Artemidorus’ Interpretation of dreams, Oneirokritika, based on Pack’s edition (1963), and on Houlihan’s (1997a,b) reviews and of Bowersock (1994)’s. It is a particular and important passage, focused on dreams about tragedy, comedy, choruses and hymns. To this translation, which serves as the basis for the present study of the onirocritic text, other excerpts were added in order to examine the (re)configuration of the dramatic action or hypokrisis into dream interpretations, within the author’s model of analysis, and its relationship with truth and falseness on physis, ethos and tekhne levels; all on a common denominator, memory. A rhetoric basis for author’s onirocritic vision and the keys to onirocritics in the dramatic scenes are discussed.

Retratos da Espanha em Os fantasmas de Goya

1792, Madri. After years of inactivity, the Spanish Inquisition is born again with the mission of containing the laic winds that blow from the revolutionary France. Inês Bilbatúa, a rich merchant’s daugther, is victim of the inquisitorial machinery which tortures and violates her, through one of their abetters, the Dominican monk Lorenzo. Before being arrested, the young lady had served as model for the painter Francisco of Goya, who had also portrayed the monk Lorenzo. The Aragonese painter’s figure serves as narrative conductor of a history that narrates the young Inês’ via crucis and, at the same time, it recreates the historical scenery of the Napoleonic invasion (1808), through a basic element, the painting. Our work intends to analyze the relationships among movie, painting and history present in “Goya’s ghosts” (2006), of the Czech director Milos Forman (1932) - whose script was adapted to a homonymous book in 2007 -, a movie that is based on the artistic production of Francisco of Goya y Lucientes (1746 -1828), official painter of Carlos’ IV (1788 -1808) court and the most lucid columnist of his time, that knew how to capture in his works the religious fanaticism, the populist fervour, the governor’s hypocrisy and the horror and the violence of the war.

Book Review of “Indigenous Social Work around the World. Towards Culturally Relevant Education and Practice”, 2008, edited by Mel Gray, John Coates and Michael Yellow Bird

One could be seduced into a critique of this volume that focuses on its potential to overstate the momentum for a shift in Western social work ideology when faced with the conundrum of cultural difference. One could posit that the discussion is too broad, the topics covered too numerous, the opportunity for detail missed, the urgency of the messages unnecessarily exaggerated, the “proof” not beyond anecdote and so forth. I reject this temptation to conform to the dominant professional dynamic most emphatically and offer that what Gray, Coates and Yellow Bird have presented to the social work field in this volume is the first tangible step towards an alternative paradigm for an occupation afflicted with unsustainable hypocrisy and thus at the brink of irrelevancy.

How to reconcile the EU border paradox? The concurrence of refugee reception and deterrence. IES Policy Brief 2015/4, November 2015

The refugee crisis that unfolded in Europe in the summer of 2015 questions the effectiveness of European border and refugee policies. The breakdown of the Dublin and Schengen rules due to chaotic situations at the borders in the Balkans marks a critical juncture for the EU. We consider this breakdown as a consequence of a long-lasting co-operation crisis among EU Member States. The most recent Council decision responds to this co-operation crisis (Council Decision 12098/15). This Policy Brief analyses EU policy and politics and argues that plans for refugee relocation and reception centres as well as the use of qualified majority voting in the Council can unfold a dynamic that helps to solve the co-operation crisis. However, underlying the problems of co-operation and effectiveness is the EU’s border paradox: while EU border policy works towards refugee deterrence, EU asylum policy aims at refugee protection. The EU’s approach in regulating borders and asylum can be understood in terms of ‘organised hypocrisy’ (Brunsson, 1993). Reconciling the paradox calls for overcoming such hypocrisy.

I'm a hypocrite, but so is everyone else: Group support and the reduction of cognitive dissonance

The impact of social support on dissonance arousal was investigated from a social identity view of dissonance theory. This perspective is seen as augmenting current conceptualizations of dissonance theory by predicting when normative information will impact on dissonance arousal and by indicating the availability of identity-related strategies of dissonance reduction. An experiment was conducted to induce feelings of hypocrisy under conditions of behavioral support or nonsupport. Group salience was either high or low, or individual identity was emphasized. As predicted, participants with no support from the salient in-group exhibited the greatest need to reduce dissonance through attitude change and reduced levels of group identification. Results were interpreted in terms of self being central to the arousal and reduction of dissonance.

Charlatan philosopher and wise enchantress: Seduction and authority in eighteenth-century French discourses on happiness

In late 1757 Rousseau wrote a series of moral letters on happiness to Mme Sophie d'Houdetot. He distinguished himself and his teaching from the empty babble and hypocrisy prevalent in 'the century of philosophy and reason'. Philosophers were charlatans peddling happiness. This paper shows how Rousseau's critique of philosophy reworks the standard image of charlatans in the public square. It highlights a questioning and a gendering of reason implicit in the issue of credentials for teaching happiness. Against the dubious authority of the philosopher, Rousseau casts Sophie as the wise enchantress whose gentle influence inspires her tutor. He places moral authority outside the public square in a private, feminine domain. Rousseau's ideal woman cannot be a tainted charlatan like him. Yet the very opposition puts her in her place. (Author abstract)

Negative brand personality:the construct, its antecedents and outcome variables

By evolving brands and building on the importance of self-expression, Aaker (1997) developed the brand personality framework as a means to understand brand-consumer relationships. The brand personality framework captures the core values and characteristics described in human personality research in an attempt to humanize brands. Although influential across many streams of brand personality research, the current conceptualization of brand personality only offers a positively-framed approach. To date, no research, both conceptually and empirically, has thoroughly incorporated factors reflective of Negative Brand Personality, despite the fact that almost all researchers in personality are in agreement that factors akin to Extraversion (positive) and Neuroticism (negative) should be in a comprehensive personality scale to accommodate consumers’ expressions. As a result, the study of brand personality is only half complete since the current research trend is to position brand personality under brand image. However, with the brand personality concept being confused with brand identity at the empirical stage, factors reflective of Negative Brand Personality have been neglected. Accordingly, this thesis extends the current conceptualization of brand personality by demarcating the existing typologies of desirable brand personality and incorporating the characteristics reflective of consumers’ discrepant self-meaning to provide a more complete understanding of brand personality. However, it is not enough to interpret negative factors as the absence of positive factors. Negative factors reflect consumers’ anxious and frustrated feelings. Therefore, this thesis contributes to the current conceptualization of brand personality by, firstly, presenting a conceptual definition of Negative Brand Personality in order to provide a theoretical basis for the development of a Negative Brand Personality scale, then, secondly, identifying what constitutes Negative Brand Personality and to what extent consumers’ cognitive dissonance explains the nature of Negative Brand Personality, and, thirdly, ascertaining the impact Negative Brand Personality has on attitudinal constructs, namely: Negative Attitude, Detachment, Brand Loyalty and Satisfaction, which have proven to predict behaviors such as choice and (re-)purchasing. In order to deliver on the three main contributions, two comprehensive studies were conducted to a) develop a valid, parsimonious, yet relatively short measure of Negative Brand Personality, and b) ascertain how the Negative Brand Personality measure behaves within a network of related constructs. The mixed methods approach, grounded in theoretical and empirical development, provides evidence to suggest that there are four factors to Negative Brand Personality and, tested through use of a structural equation modeling technique, that these are influenced by Brand Confusion, Price Unfairness, Self- Incongruence and Corporate Hypocrisy. Negative Brand Personality factors mainly determined Consumers Negative Attitudes and Brand Detachment. The research contributes to the literature on brand personality by improving the consumer-brand relationship by means of engaging in a brandconsumer conversation in order to reduce consumers’ cognitive strain. The study concludes with a discussion on the theoretical and practical implications of the findings, its limitations, and potential directions for future research.

The Multidirectional Memory of Charlie Hebdo

This article will discuss notions and concepts of remembering in the aftermath of the Charlie Hebdo attacks. Much has been written about the immediate response to the attacks, both commending the collective spirit of unity that defined the ‘marche républicaine’ of 11 January 2015, and criticising the alleged hypocrisy and cynicism of, most notably, the political figures that took to the streets that day, hand in hand. I will consider a selection of the memory practices that have emerged since then, notably on the anniversary of the event. This demonstration of memory provides key insights into the form and manner of remembering within a particular cultural group, but also reflects how the present moment is integral to our understanding of memory. The purpose of this article is to consider how official and non-official remembering of Charlie Hebdo can intertwine as well as pull in separate directions. A focus on the politics, the language, the aesthetics and the geography of commemorative activities in this article will enable an appreciation of the multidirectional character of remembering Charlie Hebdo.