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This essay focuses on Charles S. Peirce’s grammar of representation and its relevance for a logical conception of scientific inquiry. Closely relying on Peirce’s writings, one of his important trichotomies of signs will be discussed in particular: that distinguishing between substitutive signs, or “semes”, informational signs, or “phemes”, and persuasive signs, or “delomes”. According to Peirce, these three categories of signs result from an extension of the traditional division between “terms”, “propositions”, and “arguments” to all signs (not just symbols), understood as the foundational elements with and on which the scientific mind operates. It is shown that such an extended view of logic, conceived as a “semiotic”, or general doctrine of signs, is consistent with Peirce’s metaphysical views on truth and reality. Logic-as-semiotic, and its three corresponding branches of stecheotic, critic, and methodeutic, is thus conceived as a requisite normative trivium for the practice of scientific inquiry, whose purpose is to represent reality truthfully. In the end, we aim to remind that Peirce’s semiotic epistemology must necessarily be contextualized within the frame of his comprehensive philosophy of the scientific “settlement of opinion”.

À partir de l’analyse d’un argument présenté dans la correspondance avec More, cette étude examine la conception cartésienne du rapport de l’étendue à l’impénétrabilité à travers le prisme de l’imagination. Je montre que l’argument en question est une expérience de pensée qui s’appuie sur le caractère inimaginable d’une étendue pénétrable. Je défends l’idée selon laquelle la conception proprement cartésienne de l’imagination implique que le contenu et les limites de nos actes d’imagination dépendent des propriétés des images cérébrales. J’en déduis que cette conception particulière de l’imagination explique pourquoi l’argument des lettres à More est concluant du point de vue de Descartes. This paper examines Descartes’s account of the relation between extension and impenetrability through the lenses of imagination. I begin with the analysis of an argument formulated in his correspondence with More, which is actually a thought experiment based on the unimaginability of a penetrable extension. I defend the view that Descartes’s own conception of imagination entails that the content and limits of our imaginative acts depend on the properties of the brain images. From this, I conclude that this peculiar account of imagination explains why the argument in the More letters is sound from Descartes’s point of view.

La formation professionnelle courte à la communication est un terrain d’étude privilégié pour examiner les normes qui circulent sur la professionnalisation des communicateurs. Cet article analyse plus précisément les formes d’évaluation de la communication prescrites dans les formations à la stratégie et au plan de communication afin de voir en quoi elles participent de l’extension de la pensée gestionnaire ainsi que de la normalisation de conceptions instrumentales de la communication.

En France, dans le sillage du mouvement de Mai 68, émerge spontanément et joyeusement le Mouvement de Libération des Femmes (MLF), à l’initiative d’Antoinette Fouque et de Monique Wittig. Au coeur de leur débat, de leur relecture critique des textes freudiens et lacaniens se trouvent pensés à nouveau frais le discours et la théorie de la psychanalyse sur “La femme”, “le féminin”, “la sexualité féminine”, “la différence des sexes”. Les dogmes théoriques concernant “le continent noir” romantiquement évoqués ainsi par Freud sont revisités, voire renversés. Les querelles autour du terme même de “féminisme” produisent et ouvrent à d’autres discours. Freud a toujours considéré que la théorie psychanalytique était open to revision et Lacan que la psychanalyse gagnerait à être en “extension”. Que se passe-t-il lorsque la théorie et la pratique psychanalytiques rencontrent les discours féministes? L’horizon s’ouvre-t-il pour le discours psychanalytique, sa théorie, sa pratique? Une ouverture, une révision peuventelle s’opérer? Un renversement du dogme, une nouvelle joie de la pratique analytique?, In France, in the wake of the movement of May 68, the Women's Liberation Movement (MLF) spontaneously and joyfully emerged, initiated by Antoinette Fouque and Monique Wittig. In their debates and their critical rereadings of the Freudian and Lacanian texts, they think afresh the discourse and theory of psychoanalysis on “Women”, “the feminine”, “female sexuality”, and “sex difference”. The theoretical dogmas concerning "the black continent" romantically evoked by Freud are revisited, and even reversed. The quarrels over the very term of "feminism" produce and give way to other discourses. Freud always considered that psychoanalytical theory was open to revision and Lacan that psychoanalysis would benefit from being in ‘extension’. What happens when psychoanalytic theory and practice meet feminist discourses? Does this encounter imply that the horizon should open up for psychoanalytical discourse, its theory and practice? Can an opening, a revision then take place? A dogma, a new joy in analytical practice?, Dossier: Psicoanálisis y feminismos, Facultad de Humanidades y Ciencias de la Educación

This article analyses Michel Houellebecq’s use of multimedia in order to reveal how he creates transmedial worlds that cross media thresholds. Through plurimedial combinations, expansive adaptations, and post-textual work, Houellebecq extends the realms of creative intervention. Through these three types of activity, Houellebecq troubles textual boundaries and the sacralised and mythologised notions of author and text. His transmedial undertaking addresses artistic marginalisation while encouraging new forms of creative production in a growing space of possibilities. Cet article présente une analyse des œuvres multimédiatiques de Michel Houellebecq afin de démontrer la création de mondes transmédiaux. À travers la création de combinaisons pluri-médiales, d’adaptations expansives et d’œuvres post-textuelles, Houellebecq vise l’extension du domaine des interventions créatives. Il déstabilise les seuils entre les médias et les conceptions sacralisées du texte et de l’écrivain. Houellebecq conteste la marginalisation artistique et encourage de nouvelles formes de production artistiques dans un espace de possibilités croissant.

Partant de son travail Mathematics of Infinity (1989), Martin-Löf a développé l'idée d'un lien conceptuel profond entre les notions de suite de choix et d'objet mathématique nonstandard. Précisément, il a défini une extension nonstandard de la théorie des types en ajoutant une série d'axiomes nonstandard conçue comme une sorte de suite de choix. Enfin, dans une communication de 1999, il a présenté les grandes lignes d'une théorie des types nonstandard plus générale et munie d'un fort contenu computationnel. Le présent travail est une tentative de donner un développement complet d'une théorie de ce genre. Cependant, dans le but de garder un fort contrôle sur la théorie résultante et notablement pour éviter quelques problèmes en rapport avec l'égalité définitionnelle, le champ des axiomes nonstandard est moins général que ceux proposés dans sa communication de 1999. L'étude présente est poussée jusqu'à l' introduction d'une notion de proposition externe qui joue le même rôle que les propriétés externes si utiles dans l'analyse nonstandard usuelle. Du fait que ce texte débute par une introduction à la théorie des types de Martin-Löf, il peut intéresser les mathématiciens non familiers avec ce sujet.

A télécharger ici : http://sylvainlaurenssocio.free.fr/LaurensMarchanBMS.pdf; International audience; Treating "Masses" of Prosopographical Data by Scanning Directories - Hopes and Disorientation: This note aims to provide an update on the progress made in optical character recognition (OCR) and the contribution of these techniques to the creation of prosopographical data bases in social sciences. With the example of a European investigation of European business associations, it highlights the progress made possible by OCR with the analysis of several biographical directories identifying groups of business interests. 8ased on this example, it is hypothesized that the development of digital technologies allow the creation of corpuses of data much larger th an in the past in the framework of quantitative inquiries conducted by smaller teams. However, this article also highlights the fact that this extension of corpuses - made possible by scanning - raises new problems of method, starting with the increased time devoted to the standardization of digital data; Cette note se propose de faire le point sur les avancées faites en reconnaissance optique des caractères (OCR) et sur la contribution de ces techniques à la constitution de bases de données prosopographiques en sciences sociales. A partir de l'exemple d'une enquête sur les lobbys européens, il traite notamment des progrès permis par l'OCR avec l'analyse de plusieurs annuaires biographiques recensant des groupes d'intérêts patronaux. A partir de cet exemple, il émet l'hypothèse que le développement des techniques de numérisation permet la constitution de corpus de données bien plus importants dans le cadre d'enquêtes quantitatives menées par des équipes de taille réduite. Ilsouligne également le fait que cette extension des corpus - rendue possible par la numérisation - soulève de nouveaux problèmes de méthode et augmente le temps de travail consacré à la standardisation des données numérisées.

The inflection of a-stems in Old Novgorodian The alleged influence of the soft stems on the hard stems in Old Novgorodian is not actually confirmed by the facts. It is limited to the cases where the ending was -ě either in the hard type or in the soft type, and is never attested for other endings: the problem is not the relation between hard and soft types, but the status of -ě. Rather than an extension of soft endings to the hard stems, we are dealing with an extension of -ě, either from the hard stems to the soft stems (Dat.Loc.sg and dual of ja-stems), or from the soft stems to the hard stems (Gen.sg and Nom.Acc.pl of a-stems). This development is part of the process of elimination of the abnormal double alternation ě ~ i / y ~ ě (eliminated everywhere in East Slavic). It is a consequence of the extension of the ending of the hard type -ě to the soft type in the Dat.Loc.sg, which is a Common East Slavic innovation, showing the expected influence of the hard type. This innovation created a new structure in the soft type, with a unique ending for the Gen.Dat.Loc.sg, homophonous with the Nom.Acc.dual (where Old Novgorodian has - ě after the hard type instead of etymological -i). This new structure was identical with that of the -i- stems. The extension of -ě within the hard type reflects thus an alignment on the structure of other feminine paradigms: in Old Novgorodian, ail the feminine types acquired a unique form for the Gen.Dat.Loc.sg. It seems that the old Nom.Acc.dual form played an important role in this process. The evolution should be described not as a transfer of soft endings to the hard type, but rather as an internal reorganization within the hard type: a complex structure (that of the hard type) is simplified after the analogy of a less complex one (that of the soft type and of the i- stems, in which several case oppositions are neutralized). Modern dialects which have such a unique form of Gen.Dat.Loc.sg, like Old Novgorodian, are northern dialects (Pskov, Novgorod, Ladoga), spoken in areas where the Fennic substratum is well known, and it is possible that this simplification reflects the former situation of bilingualism, since simplification of linguistic structures is frequently observed in such a case., Le Feuvre Claire. Sur la flexion des thèmes en -a- en vieux novgorodien. In: Revue des études slaves, tome 78, fascicule 1, 2007. pp. 7-17.

Voltaire wanted to allot different functions and domains to verse and prose, but the prose notes which accompany his poems reveal exchanges and even interpénétration or interference between the two. The prose notes, which are developed to the extent that they sometimes submerge the poem and weave parallel networks totally unrelated to it, are not only a necessary digression, an extension indispensable for its comprehension and interpretation, but become in addition an important space for Voltaire to express his philosophy. Thus the invasive system of prose notes, which is active even if it does not concern all of its readers, is a decisive factor in the dethroning of poetry in favour of prose in Voltaire's work. Prose, at first disdained for its facility and theoretical lack of elegance, manages finally, as a result of a progressive and inverse development, to replace poetry, which gradually loses its initial dominance and preeminence., Boucher Gwenaelle. La note et le vers chez Voltaire. In: Dix-huitième Siècle, n°34, 2002. Christianisme et Lumières, sous la direction de Sylviane Albertan-Coppola et Antony McKenna. pp. 497-509.

Walter De Mulder et Anne Vanderheyden : L'histoire de contre et la sémantique prototypique Following the book on diachronic prototype semantics by Dirk Geeaerts, this paper tries to show that prototype semantics is, by its very nature, fit to describe semantic change. The authors first propose a semantic analysis of the Modern French preposition contre in terms of a "network", where the different meanings of the preposition (its spatial and adversative meanings, as well as the meanings of proportion and exchange) are organized around a prototypical sense ("movement of an entity towards another entity which functions as a limiting point") - an analysis that also includes a "schematic" or "basic" meaning. In the second part of the paper, they try to apply the same type of approach to analyze the use of the preposition in Old French and to explain the evolution of contre from Old French to Modern French. In this way, they can point out some phenomena which confirm the prototypical nature of the meaning-structure of contre: more than one meaning can be at the basis of one and the same extension of meaning, some meanings are more relevant than others in order to understand the semantic evolution of the preposition, and some meanings are more stable than others. Moreover, it is shown, following Geeraerts, that the prototypical conception of meaning can maintain the isomorphic principle ("one form, one meaning")., De Mulder Walter, Vanderheyden Anne. L'histoire de contre et la sémantique prototypique. In: Langue française, n°130, 2001. La linguistique diachronique : grammaticalisation et sémantique du prototype, sous la direction de Walter De Mulder et Anne Vanderheyden. pp. 108-125.

Inventivity and Seriality of Medieval Images. Within the framework of the present-day renewal of historical approaches to medieval imagery, it seems necessary to propose methodological redefinition of the iconographical method. This particular approach aims specifically at the plastic implementation of meanings, but can only be deemed pertinent on the condition that it takes the whole work into account, without disassociating meaning and form and by considering the modalities of its reception as well as the effects it produces. On the other hand, if the traditional conception of medieval art at once codified and subject to dogma could be satisfied by the classification of iconographic types, the recognition of the extreme inventivity of this art invites one, on the contrary, to define serial approach. This kind of approach aims at constructing ranges of transformations, allowing for the articulation of regularities and variations,constants and sudden bursts. Finally, we suggest the extension of the serial method to the study of hyper-themes, thematic networks which, without postulating the unity of global iconographie system, reveal their structuring, multiform and complex relations (for example, here between several themes concerning divine Kinship)., Baschet Jérôme. Inventivité et sérialité des images médiévales. Pour une approche iconographique élargie. In: Annales. Histoire, Sciences Sociales. 51ᵉ année, N. 1, 1996. pp. 93-133.

Pierre Lantz, Civil Society and Political Society The distinction between civil society and political society suggests the perspective of a minimizing or the diminuation of the State, defined in terms of the sovereignty that it exercises over its territory. The extension of civil society from this point of view is not limited by the territorial borders of the State. If the ideas of Marx on the withering away of the State seem unclear, and the notion of civil society is more coherent in the thought of liberals and anarchists, it is not, however, more realistic. In order to avoid confusion between the notion and the reality, it is prudent to consider the distinction between the State and civil society as an interlocking relation. The State, as a sovereign organization, is pressured by the more informal forces of the civil society., Lantz Pierre. Société civile et société politique. In: L'Homme et la société, N. 102, 1991. État et société civile. pp. 23-27.

H. Platelle, Cambrai and the Cambrai region in the XVth century. This study, written on the occasion of the five hundredth anniversary of the death of the famous Cambrai musician Guillaume du Fay, aims at providing a concrete and precise picture of Cambrai and its region in the XVth century. The first part - the places - deals with the natural and architectural environment in wich men lived. From the natural and historical region (which counted about a hundred villages in the XVth century) the reader is led into the city itself whose maximum extension seems to have been reached as early as the XIth century. The Cambrai house, the parish churches, the chapter houses and monasteries, the cathedral - a half-Gothic architectural jewel - the civil monuments are successively described. The town yet is deprived of a belfry and of a municipal bell, because of an imperial decision of 1226. The second part - the powers - tries to disentangle the network of authorities which govern the lives of men and city. In principale the bishop is endowed with the sovereignty over the city under the theoritical dependence of the Emperor, and the law of the city is entirely in his hands ; but the actual situation is thoroughly different. The bischop musy stand the competition with the cathedral chapter ans the Magistrate, whereas, at a higher level, the principality is tossed between the adverse influences of the dukes of Burgundy and of the King of France. The third part focuses especially on the men of that period full of brightness and faith, of sound and fury. Two famous "Cambrésiens" may symbolize the two opposite tendencies of the time : the chronicler MONSTRELET whose chronicles (1400-1453) reflect a "heroical and brutal" world, and the musician Guillaume du FAY who lets us hear in his works the song of Botticelli's angels., Platelle Henri. Cambrai et le Cambrésis au XVe siècle. In: Revue du Nord, tome 58, n°230, Juillet-septembre 1976. pp. 349-382.

"Common land and the feudal nobility's "reaction" in Artois". Either directly by the means of mere confiscation and the use of their "droit de triage", or indirectly by the means of the ruthless extension of their "droit de plantis", the Artois feudal nobility added to their estates about 5000 hectares of common land (that is 40% of the total common land of the province) during the three decades that preceded the French Revolution. This does not characterize a "reactionary" conception of the privileged classes but rather the evolution of the feudal nobility in a capitalistic direction, in which regrouping of the land and speculation on the forests appear as being the most effective means of ensuring the highest rate of profit., Sallmann Jean-Michel. Les biens communaux et la "réaction seigneuriale" en Artois. In: Revue du Nord, tome 58, n°229, Avril-juin 1976. pp. 209-223.

This essay traces the origin and stakes of the association between historical Islamic art and works of contemporary art by artists from Muslim countries. The idea that underpins this association—that there is a form of continuity between these works—first appeared in London in 1976 during the World of Islam Festival. This event laid the foundation for the understanding of Islamic art as a vehicle for cultural continuity, so that contemporary art by artists from Muslim countries came to be seen as an extension of Islamic art and became perceived by many as a contemporary Islamic art, that is to say, the art of the Islamic civilization of today. This article argues that the notion of Islamic civilization that the World of Islam Festival vehiculated continues to be felt in the new paradigm for Islamic art that it initiated. This essay analyzes how this event unintentionally spawned a new model for understanding not only Islamic art, but also Islamic civilization, a civilization that is now once again considered alive.