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Evoking Leo Strauss’s 1941 text “German Nihilism” and his forceful claim that nihilism is above all “the rejection of the principles of civilization as such,” my intention is to thematize the possible forms of coexistence that survive and develop despite the negation and even exclusion of certain forms of civic forms of cooperation and collaboration, as well as insistence on a closed society in the Bergsonian or Popperian sense. If nihilism is often connected to a crisis of legitimacy and reasoned discourse, with a crisis of justification of certain actions or manipulative and perverted uses of language and mind, with various protocols of destruction across many levels and taking many shapes, what interests me is the role of negation and a potential classification of various negative, socially negative, destructive, or nullifying actions and acts in the construction of (non)homogenous and (in)human social groups.

A singular Romanian writer, often considered a precursor of the avant-garde, Urmuz (1883-1923) left a complex representation of time in his work. Alongside chronological temporality, we find the elements of a more complex temporal imaginary, which is essentially critical of notions of progress. The paper proposes a close reading of the prose endings, to underline the particular aspects of the representation of time: the integration of destruction, its indefinite continuity, its positioning in relation to the future. Drawing on Giorgio Agamben's reading of the Epistle to the Romans, we highlight the messianic character of the time represented in Urmuz's prose. Through an analysis of the linguistic dimensions of temporal expressions, as well as an analysis of the relationship between time and the imaginary of filiation, we attempt to discuss the possibility of a critique of modernity and what we might call, with a notion borrowed from François Hartog, an alternative regime of historicity. [ABSTRACT FROM AUTHOR]

Notre article porte sur l’enregistrement du mariage et causes de divorce dans les systèmes juridiques congolais et angolais. Il ressort que dans les deux contextes de droit, l’une des sources de la famille est le mariage. Pour qu’il y ait ce dernier dans les deux législations, il faut que certaines conditions soient remplies notamment : celles de fond et de forme. Par conditions de fond, il faut attendre, le consentement, la capacité et la différence des sexes. Quant à la forme, il faut attendre par le mariage, les formalités du mariage, qui peut être coutumier et qui est célébré en famille et célébré devant l´officier de l´état civil en RDC, et par le Conservateur de registre civil en Angola. En plus, pour que le mariage ait des effets juridiques dans les deux droits, il nécessite l´enregistrement par les autorités précitées, accompagné par les témoins. En Angola, y a deux types d´enregistrement qui se font par registre de transcription et par registre d’inscription. Le premier est utilisé pour enregistrer le mariage célébré à l´extérieur de l´Angola devant les autorités étrangères. Quant au second registre, il sert à enregistrer le mariage célébré en Angola devant le conservateur de registre civil. Certes que dans les deux législations, le mariage peut se dissoudre par décès et par le divorce et l´unique cause de ce dernier est : la destruction irrémédiable de l’union conjugale qui résulte d´une décision judiciaire rendue à la requête de l’un d’eux ou de l’un et de l’autre, dans le cas prévu par la loi.

This research is inspired by Joseph Schumpeter’s understanding of economic evolution. In his view, innovations promote economic development, whereas imitations promote the diffusion of innovations, leading the economy through a process that he defines as “creative destruction”. A host of economists tend to agree on the importance and consequences of innovations and imitations within economic processes; however, opinions regarding creative destruction tend to differ. One view purports that creative destruction serves as a main variable, pushing the capitalist economic system toward equilibrium through imitation processes. A contrary view suggests that an equilibrium state actually promotes economic growth. Within this context, our research aims to model some mechanisms that may appear within economic evolution. Hurwicz’s concept of economic mechanisms is introduced in a modified Arrow-Debreu model, as a way of examining Schumpeter’s ideas on the role of creative destruction in economic processes that does not decrease the positions of agents. In relation to this, the present work suggests that it is indeed possible to design a mechanism that would transform the economic system under consideration toward a state of equilibrium, without making the positions of any agents worse off.

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Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Résumé : L’objectif de cet article est d’examiner l'impact de l’injure en politique pour montrer à travers une démarche analytique que toute société est par nature conflictuelle. De ce fait, son organisation ne se fait pas sans heurt. Par ailleurs, l’usage de l’injure comme arme de conquête de l’opinion dans le domaine politique a forcément des implications socio-politiques et des conséquences sur la personne qui en est la victime en même temps qu’elle a des effets inattendus sur celui qui en prend l’initiative. Au-delà, son impact sur l’environnement des protagonistes et par ricochet l’ensemble de la société qui s’invite dans le jeu comme arbitre moral est à craindre parce que l’injure peut être le début d’un conflit physique ouvert.

Recent years have been marked by large-scale social social’s movement (France, Ukraine, Belarus, Algeria, Chile, Hong Kong, Colombia, the United States, Lebanon, etc.). Although these movements refer to specific situations and political issues, there are shared experiences and concordant narratives between them. These movements are also unique in that they claim to go beyond the usual methods of intervention in the political field. Instead of traditional union or political practices, they prefer more direct modes of intervention (occupation, blocking, fist-fighting, riots, etc.), without spokespersons, without hierarchy, organized in a flexible and "horizontal" way thanks to digital devices, and without any openness to possible negotiations or compromises with the authorities. In short, these movements seem to prefigure a crisis of democratic habits, in particular of the politics of composition that makes dialogue the essential principle of conflict resolution. This paper proposes to reflect on the dynamics of these social upheavals by paying particular attention to the sensitive experience that the actors have of them. The power of attraction of the overflowing of the usual political scenes would translate a clashing passion for the world whose more general political meaning should be questioned.

Photography testifies the works lost during the wars and the efforts to protect them and allows their transmission to future generations to perpetuate their memory or to allow their eventual restoration as it is the only remaining evidence of the buildings that have been destroyed, totally or partially. In Italy in 1915 it was decided to secure the most important mobile works of art by transporting them to shelters far from the front. As for the monuments, protection occurs in different ways. On the eve of the Second World War the problem recurs exponentially, air vehicles have made considerable progress and given the scarcity of resources, many monuments remain exposed. If in the First World War the loss of cultural heritage is relatively low, in the following the strategic bombings have caused profound destruction in addition to the great loss of human life. Finally, in the latest armed conflicts there is also a tendency to strike at the identity symbols of the enemy or the adverse religious ones.

This paper is a review of Roberto de Mattei’s book, La critica alla Rivoluzione nel pensiero di Augusto Del Noce [The Criticism of the Revolution in the Thought of Augusto Del Noce]. According to the author, de Mattei’s book acquaints the reader with Del Noce’s criticism of the destructive nature of revolution as that which stems from the ideas of modern philosophy and culminates in current politics and culture.

A Christian worldview entreats humans to live in ethical relationship with the natural world; our current ecological crisis makes that call of crucial and immediate importance. If humans, and Christians in particular, are to adequately participate in care for creation, then we must proceed with both ecological and theological knowledge about the natural world. In both scientific and theological analyses, we uncover not only creative processes of growth, but elements of chaos and destruction. The carbon cycle, food webs, and evolution are examples of where the earth’s survival depends upon destructive processes. In parallel fashion, God’s activity in Scripture also entails chaos and destructive activity, such as the flood in Genesis, the wisdom of the Book of Job, and Paul’s reflection on creation in Romans. This article argues that humans, called to be co-creators with God, thus need to integrate destructive activity into our framework of what it means to “co-create,” thereby participation in creation in a more holistic manner. Far from unleashing unrestricted destruction on the world, such a framework offers ethical guidelines for destroying and creating in ways that support the overall flourishing of the natural world.

This article aims to identify the aesthetic and political stakes raised by artistic vandalism as practiced by the Joker at the Flugenheim Museum in Gotham City in Tim Burton’s Batman (1989). The analysis takes as a starting point the use that Swiss-American artist Christian Marclay makes of this very scene in Made to be Destroyed, a video exclusively composed of film scenes showing artworks being burnt, smashed, or defaced. Whereas the editing done by Marclay tends to reduce artistic vandalism to the compulsive repetition of the dialectics that connects creation and destruction, the playful iconoclasm practiced by the Joker and his gang reveals the symbolic violence produced by the aesthetic object and the universalist claims of the art museum as an institution, their performance being reminiscent of the ethos of 20th century avant-garde movements. Yet, their act of vandalism also undermines the very criteria that serve to establish the hierarchical distinction between “low culture” and “high culture”.

Throughout his poetic œuvre the Northern Irish poet Derek Mahon has made the tabula rasa a true ars poetica of his very own, using discarded objects or even ‘breaking’ objects in good condition, in order to salvage them or recycle them by reintegrating them to a new system of objects of which he alone knows the rules. To achieve such a goal, in his poems Mahon has relentlessly re-envisioned the value of an object economically, metaphysically and poetically, by temporarily destroying it. This ‘tabula rasa’ phase is thus seen as almost essential to the process of re-evaluating the value of objects, which in turn is followed by a process of reconstructing them, implying the poet’s gathering of what Donald W. Winnicott names ‘transitional objects’. Mahon’s transitional objects, so to speak, act as new toys he has made his own, so that he could be free from any kind of attachment towards a community, and especially a Northern Irish one. Mahon’s poetry is thus a ‘Building Site’ of sorts, always in motion.

The present paper deals with a recovered hoard of gold Hellenistic style jewellery, stolen in 2001 from the Dacian fortress of Căpâlna, archaeological site and UNESCO monument from Romania. After 7 years of illegal trafficking of the artefacts on the black market of antiquities, the Romanian law enforcements recovered the hoard from Germany, with the generous support of an expert from Frankfurt am Main. The items come from a Western Balkan workshop around the inhabited by the Danubian Celts, located on the northern territory of Serbia and the western part of nowadays region of Banat (Romania). Nevertheless, one should not completely exclude the possibility that the items were made in a roving workshop on the territory of South-western Dacia. The technique used and the style of decoration prove the assimilation of late Hellenistic and Italic influences. The composition of the gold alloy is similar to the one used by jewellers in the late Hellenistic and Roman imperial periods. An important detail is the reconstruction of the ”discovery circumstances” inside of the protected area of Căpâlna fortress, by the archaeological poachers from Deva (Hunedoara County). During the judicial and forensic investigations, from 2006 to 2018, the members of the law enforcement observed the ”evolution” of the actual state of the monument. The conclusion is that during the twelve years since the fortress was a UNESCO monument, its protection and scientific promotion was minimal.

This work is a scenario of the English lesson dealing with the discussion of one of the greatest problems humanity currently faces and comprises a set of tasks for students at the C1 level at English classes. These assignments and suggested activities envisage speaking, listening and reading exercises, encourage students to discuss the problem of war conflicts around the world and their consequences and organize active usage and efficient acquisition of language material.

Planning for settlement and urban redevelopment following disastrous earthquakes depends on the early detection and control of structural damage. The first damage assessment to be made immediately after the earthquake should be done as practically and quickly as possible. Within the scope of the study, the general causes of damage to the reinforced-concrete buildings in the region affected by the Kahramanmaraş earthquake couple dated 06 February 2023, which can be called the disaster of the century for Türkiye, and the first damage assessments were made using the European Macroseismic Scale (EMS-98) for 30 different reinforced concrete structures. This method gives six different building examples for each of the five different damage levels. Considering the buildings used in damage level, information is given about the causes and consequences of the damage. In general, it is the main cause of insufficient reinforced concrete frame damage as well as the effects of structural negativities such as soft storey, short columns, etc.

This paper proposes to analyse the elements of eucatastrophe and redemption in The Silmarillion by J R. R. Tolkien, in terms of values derived from the Christian Gospels. In the novel, it is made apparent that from the beginning of the creation of Ëa (the world), dark and evil forces have assailed the peace and harmony maintained by the forces of good (Eru Ilúvatar, the Valar and Maiar). To maintain this cycle of harmony, the Valar entrusted all races with this tremendous task. These so-called races are given distinct histories and abilities. Elves were naturally good at heart, though capable of using free will and swerving towards evil as well; they also could return to goodness once again they learned their lesson. Their goal is to achieve redemption (after vanquishing Morgoth, Sauron and their allies), the so called happy ending that is continually postponed for thousands of years. Despite the narrative and symbolic density of the invented races, genealogies and histories laid down by Tolkien in The Silmarillion, this paper will argue that ultimately values traceable to the familiar New Testament Gospels lie behind the book’s modulations of good and evil.

Today, churches are, at all levels of the territory, an inescapable testimony of the Middle Ages. This paper invites to consider the real consequences of the French Revolution on this religious built heritage. Ransacking and destruction are often associated with this troubled period that aimed to establish a new society. However, they were neither systematic nor caused by an anti-religious sentiment but, more often, by an anti-feudal movement. This article considers the case of places of worship located in a small territorial entity: the abbey and parish of Savigny, in the Rhone. Based on abundant modern archives, it attempts to determine how the population and the municipality felt about these three churches - abbey, monastery and parish - which did not suffer the same fate in the second half of the 18th century. Demolish, transform or conserve: the varied, sometimes contradictory, reactions of the different protagonists can be explained by the relations they had had with these buildings since the Middle Ages. The history of monuments is inseparable from the history of mentalities.

Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pessoa Plural is the property of Pessoa Plural and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Monuments, tombs, statues, artistic performances and digital images, driven by the issue of memory, through the movement of criticism and destruction, are the key concepts of this article, which was composed as a joint (two-author) essay. These concepts are inter-twined with Walter Benjamin’s thought and inferential examples, mostly connected to the politics of the past and its echoes in the present. The political issues quoted in the essay are related to colonial times as well as to the present, accentuating the racial mixture of the Brazilian people expressed through an allegorical type: the caboclo/cabocla.

In the Independent State of Croatia (NDH) from its establishment only days after the German attack on Yugoslavia in early April 1941 until its fall in May 1945 a genocide took place. The ultimate goal of the extreme ideology of the Ustasha regime was a new Croatian state cleansed of other ethnic groups, particularly the Serbs, Jews and Roma. The Serbian Orthodox Church (SPC), historically a mainstay of Serbian national identity, culture and tradition, was among its first targets. Most Serbian Orthodox churches and monasteries were demolished, heavily damaged or appropriated by the Roman Catholic Church or the state. More than 170 Serbian priests were killed and tortured by the Ustasha, and even more were exiled to occupied Serbia. The regime led by Ante Pavelić introduced numerous laws and regulations depriving the SPC of not only its property and spiritual jurisdiction but even of its right to existence. When mass killings stirred up a large-scale rebellion, a more political and seemingly non-violent approach was introduced: the Croatian regime unilaterally and non-canonically founded the so-called Croatian Orthodox Church in order to bring the forced assimilation of Serbs to completion. This paper provides an overview of the ordeal of the Serbian Orthodox Church in the NDH, based on the scholarly literature and documentary sources of Serbian, German and Croatian origin. It looks at legislation, propaganda, the killings and torture of Orthodox clergy and the destruction of church property, including medieval holy relics. The scale and viciousness of some atrocities will be looked at based on unused or less known sources, namely the statements of Serbian refugees recorded during the war by the SPC and the Commissariat for Refugees in Serbia, and documents from the Political Archive of the Third Reich Ministry of Foreign Affairs. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 47027: Serbs and Serbia in Yugoslav and International Context: internal development and position within European/world community]

Pascal Quignard published Terrasse à Rome in 2000. The novel contains descriptions of paintings, engravings, incessant chronological jumps, and reflections. It also includes enigmas, snippets of stories, themes that weave between chapters. The composition of this novel required from the author a perfect disposition of each of the scenes, of each of the words, according to the textual totality. The improper integration of a single element leads to the breakdown of the general device and / or the collapse of the novelistic structure. It is necessary to solicit, as Gide already wanted it, the collaboration of the reader ; it is enough to propose to him the elements of a puzzle with which he can have fun exercising of the freedom of his intelligence and his imagination. Terrace in Rome is like a long meditation on the writer’s work and artistic creation.

Since 2001 the French novel has been marked with the stigma of a desperate civilization that is exhausted by violence. Additionally, this novel attempts to show a world and persons shattered by collective dramas that affect and shake individual destinies. Within this perspective, the present article attempts to study the theme of violence in the work of P. Djian, V. Despentes et F. Beigbeder and to demonstrate that fiction is the place of a possible redemption.

Studying the installation of public monuments during French colonisation and their evolution after the independence of Algeria makes one question, to start with, the meaning of the commemoration within a territory. With regard to the definition given by geographers of the term territory, the monument is a sort of material projection of the territory incarnating its essence: identity, social and economic. Territory and monument are thus inseparable. First, we will study the monuments installed in Algeria during colonisation and we will examine the memory that they convey. What is significance for Algerians of the installation of monuments commemorating the great men of the history of France? Faced with a destiny as diverse as destruction, concealment or “repatriation” from Algeria to France, what events do these monuments commemorate now? Does a second installation in metropolitan France offer a second life or is it a rewriting of history?

The way of production of capitalist modernity has led and leads to an increasing virtualization of the existing, and an ever greater delimitation of nature. Simultaneously, it brings about a fall of the boundaries between man and nature, between regional and cultural differences. It may be argued that only an ethical position on the responsibility and care of nature, territorial and human differences, may ensure human survival and living on the Earth.

Copyright of Frontières is the property of Universite du Quebec a Montreal, Revue Frontieres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bucharest University Annals - Law Series is the property of CH Beck Publishing House and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Résumé Objectif Diminuer les destructions de produits sanguins labiles (PSL) fait partie des missions des correspondants d'hémovigilance dans les Établissements de Santé (ES). L'objectif de ce travail était d'effectuer, cinq ans après une première étude multicentrique, une analyse approfondie des causes de destruction des PSL afin d'évaluer l'impact des mesures prises et de définir de nouvelles actions d'amélioration. Méthodes L'analyse a été menée de façon prospective durant l'année 2016. Pour chaque PSL détruit ont été relevés les éléments suivants : le type de PSL, le service transfuseur, la cause de destruction analysée selon un arbre décisionnel, puis classée en évitable ou non évitable. Résultats L'étude a concerné 15 ES. Au total, 3058 PSL ont été détruits, soit en moyenne 0,90 % des PSL délivrés. L'analyse a porté sur 2576 PSL. Parmi eux 67 % ont été délivrés dans un contexte de chirurgie, réanimation ou urgence. Les causes de destructions étaient liées au patient pour 40 % (décès, aggravation clinique, effet indésirable, ou anomalies des constantes avant la pose), à la prescription pour 30 % (majoritairement à une prescription excessive quelle qu'en soit la raison), et pour 11 % à des problèmes d'organisation. Le taux des destructions jugées évitables, toute cause confondue, était de 36 %. Conclusion La comparaison avec l'étude précédente met en évidence une amélioration montrant l'efficacité des mesures mises en place (délivrance unitaire, procédures de retour vers le site de délivrance, formation des acteurs). Pour encore diminuer les destructions, nous proposons de favoriser les procédures d'entreposage et surtout de continuer la sensibilisation des équipes soignantes. Abstract Objective One of the tasks of haemovigilance correspondents in Health Institutions (HI) is to reduce the destruction of labile blood components (LBC). The objective of this study was to analyse in depth, five years after a first multicentric study, the causes of LBC destruction in order to assess the impact of measures taken and to define new ways of improvement. Methods Prospective analysis was carried out throughout 2016. For every LBC destroyed, the following elements were reported: type of LBC, transfusion department, cause of destruction analysed according to a decision tree, subsequently classed as avoidable or unavoidable. Results The study included 15 HI. A total 3058 LBC were destroyed, representing an average 0.90% of issued LBC, and this analysis concerned 2576 LBC. Sixty-seven percent of LBC were issued for surgery, intensive care or emergencies. Forty percent of the causes of destruction were patient-related (death, clinical worsening, adverse effects or abnormal constants prior to delivery). Thirty percent were prescription-related, mainly cases of excessive prescription for different reasons. Eleven percent were linked to organisational issues. The rate of destruction judged avoidable, all causes combined, was 36%. Conclusion Comparison with the precedent study shows improvement, thus revealing the efficacy of implemented measures (single-dose distribution, return procedures back to the site of distribution, training of participants). In order to further reduce this rate of destruction, we suggest to promote storage procedures and, above all, to continue to raise awareness within healthcare teams. [ABSTRACT FROM AUTHOR]

If destruction and negativity can be attributed to 'evil'; then Lautreamont's omnivorous text, which is an offspring of other texts, is a typical example of evil. Devouring of texts has enabled this text to adopt an innovative interpretation of the text and writing, and demand a risky reading. The prologue to such a reading would be discredit for creation and author. So far, enough has been said about the terrorizing aspect of Lautreamont's text. Based on the theories of Russian formalism and Jauss in literary evolution, this study explains the total mechanism of this text. Because its other aspect, the aspect of 'good', if left unaccounted for, then the rejecting movement of this inefficient work will look imperfect and even barren. Without 'evil' which appears before 'good' in this work, one cannot mention 'good', nor can he think of it. Lautreamont's textophagous and self-devouring text benefits from parody to deprive the elite's literature of its spirit and present itself as a resurrector to give this literature a new function. In addition to creating an impersonal writing, this text tries to give credit to paraliterature or at least highlight its aesthetic aspect. [ABSTRACT FROM AUTHOR]

Theodor W. Adorno’s concept of the essay is strictly interrelated with the problem of knowledge. In Adorno’s and W. Benjamin’s thought the essay is the manifestation of a search for knowledge, which corresponds to the modified conditions of life in the large city (metropolis) of the early 20th century. The essay renders obsolete the traditional criticism, based on the prospective vision of reality and on its trusting in a clara et distincta perceptio. The essay is in Adorno’s view an intuition of the detail rather than a methodically organized process. There are no certainties for the essay: the essay is not linear but chaotic and multidirectional. Its form appears as an analogon of Benjamin’s flâneur, whose ability lies in seeing the figures of destruction behind the signs of progress.

The article discusses the mechanisms of interaction of ozone with aqueous solutions of organic dyes. Two different dyes with different types of chromophore systemwere investigated: azo dye and thiazine dye. A detailed methodology for performing experimental studies makes it possible to accurately dose ozone into the reaction mixture. The data of experimental studies are presented indicating the effectiveness of the use of ozone for the destruction of dyes in aqueous solutions. The specific doses of ozone were established to reduce the color intensity of the studied dye solutions to standard values.

In 1926–27, in his work Being and Time (Sein und Zeit), Martin Heidegger sought to ‘destroy’ the metaphysics of presence. To destroy, which meant to solicit, to shake, to destabilize, to bring out the ruins and remains inherent in presence, was for Heidegger, if not to surpass metaphysics and its privilege of presence, to attest another mode of thinking time and history. This other way of thinking was to think Being (Sein), the holding-together of life (Zusammenhang des Lebens), and community, according to an ‘always already’ and ‘always not yet’. The ‘destruction of presence’ sought precisely to show that the rationalistic imposition of presence was disastrous. In his as yet unpublished course from 1964, entitled ‘Heidegger: la question de l’Être et l’histoire’, Jacques Derrida interrogates at length Heidegger’s project, writing for example that ‘Sein und Zeit commence donc à ébranler, à solliciter l’époque qui dissimule l’histoire de l’être sous l’histoire de l’étantité determine comme présentité/ Being and Time begins, therefore, to shake, to unsettle, the epoch that dissimulates the history of Being beneath the history of beingness determined as present-ness’. Derrida, in this course and henceforth with ever-greater acuity and force, laid out what this other way of thinking might be, and it acknowledges and welcomes the place of the ruin, the remainder, well-nigh converting it into a sustainable resource, in the name of thinking otherwise what life and community are, despite the hegemony of a metaphysics of presence. I Òwould like to take the de(con)struction of presence—not at all a ruin-causing event in twentieth-century thought, on the contrary—as a point of departure for reading a novel devoted to the remanence of ruins in London, Elizabeth Bowen’s The Heat of the Day (1949). Commanded by a representation of the Blitz, and by a representation of London as a presence whose modality is the past of the future, this novel is a striking example of a ‘deconstruction of present exhaustion and of past master discourses’.

The paper is focused around two biographical themes. Theme one is history of demolishing Leningrad school of dramatic theory developed in the State Institute of History of Art (GIII) in the 1920s. In 1931, the GIII was closed by a Sovnarkom resolution and transformed into Len- ingrad division of the State Academy of Art Studies (LOGAIS) established by the same resolu- tion. Theme two is description of the ‘academic traumatism’, traumatic behavior and its bio- graphical effects caused by destruction of a whole scientific trend during the anti-formalism campaign of the early 1930s. Based on archival documents (from the Russian State Archive of Literature and Art), shorthand notes and reports on discussions of the 1930s, we analyze behav- ioral tactics of initiators, participants and victims of the longstanding stigmatization and catalog absolutory, denunciative and repentant narratives. In particular, this paper analyzes the un- published letter to the editors of Rabochiy i Teatr journal written by Alexander Slonimsky, one of the key players in development and obliteration of dramatic theory associated primarily with Alexei Gvozdev’s group and with transformation and dissolution of the leading humanities in- stitutes. The text of the letter appears to be engrained in the complicated mosaic of measures aimed to discredit Meyerhold’s theater practice and Gvozdev as the leader of the scientific school. Deliberate misinterpretation and corruption of self-descriptions along with reconstruc- tion of biographies are some of the most crucial factors that affected reception of cultural pro- jects and their creators in the 1930s and later.

This essay aims to initiate a reading of the traces and inscriptions, perhaps the trajectory, of the means of deconstruction in the texts of Jacques Derrida, to testify to the pages he devoted to deconstruction and to its means, to begin an assessment, from the murder weapon to the weapon of the executioner and beyond, of the philosophical consequences of a still hypothetical history of deconstruction. [ABSTRACT FROM AUTHOR]

Marguerite Duras's writing is filled with holes. Her writing is made of silence, filled with cuts, because her life is made up of holes. Because her time is marked by war and cruelty. So she believes the only language that can speak of the world as it is - broken as it is - is a broken, un-knowing language, where there is no narration, and no story line. What this does, Duras's nonwriting, is mirror the world as she sees it. What cannot be said needs to be connected to a space of silence which stands in for the unsayable. The hesitation, stutter, the breath of silence are used to enact the spaces of lived experiences that cannot be reduced to a simple explanation. The writing has holes in it for breath, for breathing, for grasping in the dark for the proper word to describe the precise abject poverty, the exact place in which the writer loses herself, where she becomes lost. It is in the ellipses, in the pause, in the refusal, in the constant caesura, in the negativity, the cut, the comma and stops made by punctuation and also by space on the page that story is going to be told, the text is going to be completed. [ABSTRACT FROM AUTHOR]

It is usually considered that artistic creation is oriented toward future, and archeology toward the past. Examination of the two practices shows that this opposition is misleading and that one and the other continued with the same strategies and techniques, the same objective: the creation of a world: resurgence of the world creation. Paradoxically, this creation is only possible after an inevitable process of destruction, as both are continually implemented. This process necessarily obeys the principle of contingency. It follows that the appearance of the world is ipso facto subject to this antinomy called "necessity of contingency" (Meillassoux).

D. H. Lawrence chose the phoenix which rises from its ashes to symbolize his creed that destruction is a necessary prelude to renewal. He set this renewal on a cosmic scale, Man having to redefine himself in relation to lost primeval connections. The quest for personal fulfillment through destruction being therefore a motif in Lawrence’s writings, this article aims to broach it from the angle of voluntary sacrifice, more specifically in the short story entitled ‘The Woman Who Rode Away’. The main character, hoping to experience renewal, leaves her home on a Mexican ranch and rides out to meet an Indian tribe. However, the nature of the renewal she longs for remains to be defined.The narrative’s abundant negative forms sustain the apophatic quality of its language which the study will focus on. The article is organized according to the evolution of the language which not only denounces the void of civilization but also provides a definition of the quest. Therefore as the short story unfolds, language seems to reach its limits and even give way to the unspoken when the sacrifice is carried out. This evolution highlights the ideological explorations of the author who, at the end of his life, was still pondering over the sacrifice required to restore cosmic relations and who attempted to express a personal answer to such questions in the short story entitled ‘The Man Who Died’.

Through the analysis of a series of Italian, African and Hispanic inscriptions, this contribution attempts to show how the numerous Latin inscriptions mentioning reconstructions stand out from the corpus of municipal inscriptions through their insistence on the state of disrepair of the buildings. This discourse makes it possible to lay the stress on time’s wear and tear and to place these documents at the confluence of several memories, individual, domestic but also civic. Far from testifying to ruptures in urban history, these inscriptions try to assert the necessary continuities in a perspective of refoundation.

• Chapter 1. PaleoParks: Our paleontological heritage protected and conserved in the field worldwide, by Jere H. Lipps, p. 1-10, 20 figs. • Chapter 2. The Triassic Guanling fossil Group - A key GeoPark from Barren Mountain, Guizhou Province, China, by Xiaofeng Wang, Xiaohong Chen, Chuanshang Wang & Long Cheng, p. 11-28, 30 figs., 2 tables. • Chapter 3. The GeoPark of Haute-Provence, France - Geology and palaeontology protected for sustainable development, by Jean-Simon Pagès, p. 29-34, 11 figs. • Chapter 4. The protection and use of the geological and paleontological heritage in Baja California Sur, Mexico, by Javier Gaitán Morán & Alejandro Álvarez Arellano • Capítulo 4. El resguardo y aprovechamiento del patrimonio geológico y paleontológico en Baja California Sur, México, por Javier Gaitán Morán & Alejandro Álvarez Arellano, p. 35-48, 4 figs. • Chapter 5. Protecting fossil sites in New Zealand, by Bruce W. Hayward, p. 49-64, 10 figs., 6 tables. • Chapter 6. The Salt Range: Pakistan's unique field museum of geology and paleontology, by Shahid Jamil Sameeni, p. 65-73, 28 figs. • Chapter 7. Paleontological parks and museums and prominent fossil sites in Thailand and their importance in the conservation of fossils, by Nareerat Boonchai, Paul J. Grote & Pratueng Jintasakul, p. 75-95, 13 figs. • Chapter 8. Managing fossil resources at the Falls of the Ohio, Indiana and Kentucky, USA: A fossil park in an urban setting, by Alan Goldstein, p. 97-101, 8 figs., 1 table. • Chapter 9. Paleo-piracy endangers Vendian (Ediacaran) fossils in the White Sea - Arkhangelsk region of Russia, by Mikhail A. Fedonkin, Andrey Yu. Ivantsov, Maxim V. Leonov, Jere H. Lipps, Ekaterina A. Serezhnikova, Eugeniy I. Malyutin & Yuriy V. Khan, p. 103-111, 12 figs. • Chapter 10. Copper Canyon track locality (Pliocene) conservation strategies, Death Valley National Park, USA, by Torrey Nyborg, p. 113-119, 4 figs. • Chapter 11. A possible Late Miocene fossil forest PaleoPark in Hungary, by Géza Császár, Miklós Kázmér, Boglárka Erdei & Imre Magyar, p. 121-133, 19 figs.