Amour 'is a great daimôn' (202d): this is the first qualification reserved for Éros by Diotime in Le Banquet de Platon; this was also the name given to him by Apulée, towards the end of his treaty of the demon of Shanghai (around 150 after J.-C.), and he added that his plenary power was 'to keep awkward'. Thus, there was no discrepancy but continuity between the figure of the Socratic Daimôn or 'divin sign', which we found and presented in our previous intervention as the singular power of a denial in defeat, and that of Eros, a worried and still missing one, which was still lacking and relaunched his quest and quest. It would also be said that the portrait of Eros drawn by Mantinée's vowel is the same as that of the winged intermediary, a seductor and willing interviewer, which is akin to Aphrodite according to classical mythology, shipping yarn (Poros) and Misère (Pénia) according to the platonician myth. ; International audience ; Amour 'is a great daimôn' (202d): this is the first qualification reserved for Éros by Diotime in Le Banquet de Platon; this was also the name given to him by Apulée, towards the end of his treaty of the demon of Shanghai (around 150 after J.-C.), and he added that his plenary power was 'to keep awkward'. Thus, there was no discrepancy but continuity between the figure of the Socratic Daimôn or 'divin sign', which we found and presented in our previous intervention as the singular power of a denial in defeat, and that of Eros, a worried and still missing one, which was still lacking and relaunched his quest and quest. It would also be said that the portrait of Eros drawn by Mantinée's vowel is the same as that of the winged intermediary, a seductor and willing interviewer, which is akin to Aphrodite according to classical mythology, shipping yarn (Poros) and Misère (Pénia) according to the platonician myth. ; Amour « est un grand daimôn » (202d): telle est la première qualification réservée à Éros par Diotime dans Le Banquet de Platon ; telle était aussi la dénomination que lui ...
The starting point is the versions of the widely disseminated myth of the mellizo registered among the guaranes of Calilegua (Jujuy, Argentina), I propose to analyse their historical and political implications in the light of some of the contributions of ontological turmoil. The narrative of the mellizo allows the guaranes with whom they work to reflect on their origins and to think about history as an ancestral people who expanded into the Americas in mythical times. Far from abstraction, this myth implies a historical and political position against the narratives stigmatising Jujuy's guaranes as foreigners and calling into question their ancestrality in the territory. Taking indigenous mythology seriously leads to no longer establishing the truth or forgery of certain native stories and stories or whether or not they coincide with histography, but points to the political project of pluralising history. ; Tomando como punto de partida versiones del ampliamente difundido mito de los mellizos registradas entre los guaraníes de Calilegua (Jujuy, Argentina), me propongo analizar sus implicancias histórico-políticas a la luz de algunos de los aportes del giro ontológico. El relato de los mellizos les permite a los guaraníes con quienes trabajo reflexionar sobre su origen y pensarse en la historia como pueblo ancestral que en tiempos míticos se expandió por el continente americano. Lejos de una abstracción, este mito implica un posicionamiento histórico y político frente a los discursos que estigmatizan a los guaraníes de Jujuy como "extranjeros" y ponen en tela de juicio su ancestralidad en el territorio. Tomar en serio la mitología indígena conduce ya no a determinar la verdad o falsedad de ciertos relatos e historias nativos o la coincidencia o no con la historiografía, sino que apunta al proyecto político de pluralizar la historia.
Indian Literatures, from Vedas to Diasporas Anne Castaing, Livres Hebdo, 14/02/2020 Firstly unimpeachable, it is in the plurality of Indian literatures, great sanskrites and heroes' stories of Hindu mythology to Nobel Rabindranath Tagore's poems and the magic realism of the very cosmopolite Salman Rushdie. The Indian subcontinent (which includes India, but also states bordering Pakistan to the west, Bangladesh to the east, Nepal and Bhutan to the north, and Sri Lanka and the Maldives to the south) is an area where literary is cohesive, protracted and even fed into history, politics and society, since its first formulations in the second millennium of JC. Although the French editorial landscape gives great weight to modernity, which is itself a foisonant and, moreover, largely diasporic, it is a reflection, whether voluntary or not, of sometimes millennial traditions, rich as well as iconoclastes. A few clarifications are therefore not unnecessary. Multilingualism European comparison is not inappropriate, although it largely minimises the contemporary Indian linguistic reality: the Indian Constitution recognises 2 national languages, 22 official languages and more than 400 minority languages, some of which (such as bhojpuri or rajasthani) have tens of millions of speakers. The former (English and Hindi) and the latter (bengali, telougou, sindhi, etc.) and the third produced fertile literature, often unfamiliar to the French reader: the English speakers Salman Rushdie, Amitav Ghosh and Arundhati Roy, or their predecessors R.K. Narayan or Raja Rao, the great romancier hindi Premchand (1880-1936), gandhien and father of social realism in India, remain ignored despite his major role in the nationalist movement and in the development of the Hindi prose. Authors such as Mahasweta Devi for Bengali, Saadat Hasan Manto for Urdou, Amrita Pritam for panjabi, Girish Karnad dramaturge for kannada or KSatchidanandan poet for Malayalam have, however, marked the modern literary history of the Sous-continent, both in terms of ...
Based on an empirical approach based on the observation of several conspiracy theories (complot templier, jésuite, Illuminati, franc-maon, Jewish or even reptilian), we felt that six invariant traits could be identified. First, conspiracy myths are characterised by the non-random designation of scapegoats among ethnic or religious minorities. Secondly, these scapegoats are searching for absolute power, i.e. they seek to occupy dominant positions in all fields. To do so, third, they put corruption, in particular of morals, on society as a whole. Fourth, in order to impose their domination, scapegoats use the art of simulation and concealment and the cult of secrecy. Fifth, scapegoats are systematically represented by symbolic morphological types, especially in animal-like traits. Finally, sixthly, conspirationist myths are subject to a process of hybridisation and creolisation, that is to say, mutations and an amalgamation of the different conspiracy theories between them. ; International audience Through an empirical approach of several conspiracy theories (Knight Templars, Jesuits, Illuminati, Free-masons or Jewish conspiracy), I have noticed they develop six main characteristics. First, the conspiratorial myth points out scapegoats in a non-aleatory way. They usually belong to ethnical or religious minorities. Secondly, those scapegoats try to acquire an overwhelming power in all fields. Thirdly, to achieve this goal, they corrupt the whole society, especially on mores and sexuality. Fourthly, to set up their domination the scapegoats use the art of simulation and dissimulation. They yield a cult of secrecy. Fifthly, the scapegoats are consistently portrayed through symbolic morphological types, frequently as animals. Finally, conspiratorial myths undergo a process of hybridization and creolization. They go through transformations, alterations and medleys. Every conspiracy theories mix up into one another. ; Based on an empirical approach based on the observation of several conspiracy theories (complot ...
Historical knowledge is commonly believed to be a logical project that builds upon itself by successive generation. Problematically, this theory of history serves as a foundational feature of twenty-first-century historical methodology. The impact of modern historiography of the early medieval past on the formation of European myths of identity, nationalist ideologies and other extreme social and political concepts has been fairly established by scholars such as Patrick Geary, Jocelyn Hillgarth and Ian Wood. In this paper, the author argues that scholars need to reach back to the 'new history' of the sixteenth-century French Renaissance to find the figure-ground upon which modern scholars would construct their prism for seeing the Early Middle Ages. The author does this by following the history of one text, the Liber Iudiciorum (Visigothic Code), the grand legal-historical narrative of seventh-century Iberia, from its publication in Paris, in 1579, by Pierre Pithou. This interrogation will start to reveal the early modern origins of modern historical representations and the impact of those origins on twenty-first-century historiographies and historical method. ; Para acceder al Dossier utilice el link: http://revistascientificas.filo.uba.ar/index.php/AcHAM/article/view/2328 ; En general, se piensa que el conocimiento histórico es un proyecto lógico que se construye por producción sucesiva. De forma problemática, esta teoría de la historia sirve como una característica fundamental de la metodología histórica de principios del siglo XXI. El impacto de la historiografía moderna del temprano pasado medieval en la formación de mitos europeos de identidad, ideologías nacionalistas, y otros conceptos políticos y sociales extremos, ha sido establecido con precisión por eruditos como Patrick Geary, Jocelyn Hillgarth y Ian Wood. En este trabajo, el autor argumenta que los eruditos deben remontarse a la "nueva historia" del Renacimiento francés del siglo XVI para encontrar la figura-fondo a partir de la cual los estudiosos ...
When used to designate innovative companies, others to designate a risky business model or to focus on entrepreneurs· its young and heroic people, the word start-up finds no objective definition, which does not correspond to any legal category. This article proposes to shed light on this widely publicised subject, although it is not well studied. On the basis of a dual qualitative and quantitative survey conducted since 2016 among start-up founders and founders, we will question the alleged specificities of the start-up model by analysing the representations associated with them. Are they really younger, more innovative companies with higher growth potential than others? After explaining the methods of creation and development that distinguish start-ups from traditional businesses, we will show that they reinforce inequalities in class and gender, both in access and in chances of success, even though the start-up model presents itself as a more democratic and meritocratic model of entrepreneurship than otherwise exists. ; Start-up companies are often portrayed as innovative companies bearing a risky business model and created by young and heroic entrepreneurs. Yet, start-up companies do not correspond to any legal or statistic category and thus find no objective definition. This article aims to fill this gap by shedding light on this object with critical scrutiny. Based on qualitative and quantitative data collected since 2016 among start-up founders, this work analyzes the purported specificities of start-up companies and questions the representations and the myths they are associated with. Do these companies have a greater potential for innovation and growth than traditional firms? Are they created by young and talented "self-made men" and women? This contribution will study start-up creation process through the analysis of the social and economic resources of their founders and show that it tends to reinforce class and gender inequalities. ; When used to designate innovative companies, others to designate a ...
the first stories of the Revolution show a revival of the tragic. The tragic models reactivated in these texts are those of metering and overbidding. The horror Shakespearian and ancient myths are privileged in order to present the Revolution as an Inui moment. The excess of emotions is for the loss of meaning. The natural metaphors that support the expression of the fundamental emotions of the tragic register also imply a change of scale, as well as the abolition of the border which keeps the spectator away from the tragic scene. The natural disaster takes over from the theatre disaster because it affects everybody, including the perpetrators, but old conceptions of the tragic have an important influence. On the one hand, many authors would like to make their stories of judgements and lessons. The horror provoked by the perpetrators is a punishment for the crimes they are accused of and a warning to readers of future generations. From this point of view, the stories of the Revolution resemble the tragic stories of the 20th century and recall the tragic tragics of Agrippa d'Aubigné. On the other hand, the advocates of a return to literary order make the tragedy a prestigious model that must be imitated for its formal qualities. These tensions towards ancient conceptions of the tragic are at odds with the expression of a modern tragic, to the point of explaining, on the one hand, the extinction of the kind of history of the Revolution under the Empire. It seems impossible to write history in a cleaned language and learn from it when the Revolution is presented as fundamentally horrific and irrational. This is why the modern tragic, a time sketched in the early stories of the Revolution, is more prevalent in other genders, notably the Roman. Finally, the expression of a modern tragic is less the expression of trauma than the result of a dual, political and literary construction. On the one hand, she made the Terror and sometimes the Revolution as a whole a step back. On the other hand, it helps to make literature ...
This CRC research paper of MINES ParisTech is setting the scene for an ambitious study programme to study films (documentaries, fictions, advertisements, etc.) that deal with civil nuclear in France and internationally. The ambition is to analyse the myths and representations conveyed by these works on a controversial technology. This report is made up of five contributions which present very briefly ongoing work and which prepare for future results which will be the subject of more elaborate publications. The first is the testimony of Aurélien Portelli, a historian of science and technology, who explains and motivates the interests in film research. The second is a quick, but not exhaustive, panorama of the films that have marked the history of both civilian and military nuclear since the 1970s. The third is the report by The Land of Hope, a film produced by Sono Sion in 2012, which discusses the consequences of a nuclear accident on the inhabitants of a small city in Japan. The fourth illustrates the documentary film, taking the example of one of them, produced in 2013, which deals with the issue of decommissioning of nuclear power plants. Finally, the latest contribution provides a more elaborate analysis of the Grand Central film of Rebecca Zlotowski, presented at the Cannes Festival in 2013 and released in the rooms at the end of August 2013. ; Ce papier de recherche du CRC de MINES ParisTech entrouvre la voie d'un ambitieux programme d'étude visant à étudier les films (documentaires, fictions, publicités.) qui traitent du nucléaire civil en France et à l'international. L'ambition est d'analyser les mythes et représentations véhiculées par ces oeuvres sur une technologie controversée. Ce rapport est composé de cinq contributions qui présentent très brièvement des travaux en cours et qui préfigurent de futurs résultats qui feront l'objet de publications plus élaborées. La première est le témoignage d'Aurélien Portelli, historien des sciences et des techniques, qui explique et motive les intérêts à prendre ...
the methodology consists of gathering and analysing a corpus of texts, images and speeches that are needed in today's French society, from actors that form the creative elite of society: fashion trend makers, artists, creatives. They have the power to inform social representations and influence people's lifestyles. They deeply irrigate the fashion system and the cultural system more broadly. As artists, they 'materialise the surrounding impalpable spirit' (Maffesoli, 1990). For example, they share a common community of minds, values and imaginations with the whole population and express through their creative capacity the imaginative run-off of society. ; International audience ; the methodology consists of gathering and analysing a corpus of texts, images and speeches that are needed in today's French society, from actors that form the creative elite of society: fashion trend makers, artists, creatives. They have the power to inform social representations and influence people's lifestyles. They deeply irrigate the fashion system and the cultural system more broadly. As artists, they 'materialise the surrounding impalpable spirit' (Maffesoli, 1990). For example, they share a common community of minds, values and imaginations with the whole population and express through their creative capacity the imaginative run-off of society. ; La méthodologie consiste à réunir et analyser un corpus de textes, d'images, de discours qui s'imposent dans la société française actuelle, issu d'acteurs qui constituent l'élite créative de la société : tendanceurs de mode, artistes, créatifs. Ils ont le pouvoir d'informer les représentations sociales et d'influencer les modes de vie des individus. Ils irriguent en profondeur le système mode et plus largement le système culturel. En tant qu'artistes, ils " matérialisent l'impalpable esprit environnant " (Maffesoli, 1990). Ainsi partagent-ils une même communauté d'esprits, de valeurs et d'imaginaires avec l'ensemble de la population et expriment par leur capacité créative les ...
National audience All is a case of representations. Nuclear power does not escape this. The concept of representation thus covers all opinions, beliefs and myths which are produced and shared by the members of a group, on the basis of a particular object or system. These may concern major issues and be at the centre of controversy, as is the case for nuclear. The analysis of nuclear representations is therefore fully justified by the decisive impact they have on public debate and political decision-making. The sources of knowledge therefore concern areas as diverse as painting, photography, literature, press articles and drawings, advertising, audiovisual material, and films. ; National audience Tout est affaire de représentations. Le nucléaire n'échappe pas à ce constat. La notion de représentation recouvre ainsi l'ensemble des opinions, des croyances, des mythes qui sont produits et partagés par les membres d'un groupe, à partir d'un objet ou d'un système particulier. Ceux-ci peuvent concerner des enjeux forts et se trouver au centre d'une controverse, comme c'est le cas pour le nucléaire. L'analyse des représentations du nucléaire se justifie donc pleinement du fait de l'impact déterminant qu'elles ont sur le débat public, et la prise de décision politique. Les sources de la connaissance concernent dès lors des domaines aussi divers que la peinture, la photographie, la littérature, les articles et les dessins de presse, la publicité, les documents audio-visuels, et parmi ces derniers les films.
OL αυτόχθονες πολιτισμοί, όπως ο αρχαιοελληνικός, συνδέονται άμεσα με το γεωλογικό δυναμικό και το φυσικογεωγραφικό περιβάλλον του ευρύτερου χώρου στον οποίο έχουν αναπτυχθεί, και κυρίως με την εξέλιξη του μετά την τελευταία παγετώδη περίοδο (18.000 ΒΡ) (Before Present, πριν από σήμερα = π.α.σ.). Στο γεωλογικό δυναμικό υπάγονται τα ηφαίστεια, οι σεισμοί, ο ορυκτός πλούτος και το υπόγειο νερό. Στο φυσικογεωγραφικό δυναμικό ενός τόπου εντάσσονται κυρίως το έδαφος, το κλίμα, το ανάγλυφο και η κατανομή ξηράς και θάλασσας. Ο τρίτος παράγοντας είναι το ανθρώπινο δυναμικό και κυρίως η θρησκεία, οι γνώσεις και το πολιτικό σύστημα. Ο ευρύτερος ελλαδικός χώρος, εκεί δηλαδή που αναπτύχθηκε ο προϊστορικός και ιστορικός αρχαιοελληνικός πολιτισμός (Ελλαδικός χώρος, Αιγαίο και παράλια Μικράς Ασίας), από γεωτεκτονική άποψη αποτελείτο Ελληνικό Τόξο και χαρακτηρίζεται από έντονη τεκτονική, σεισμική και ηφαιστειακή δραστηριότητα. Ένας από τους βασικότερους παράγοντες που συνέβαλαν στην ανάπτυξη του Ελληνικού πολιτισμού, είναι το κλίμα και οι μεταβολές του, ιδιαίτερα τα τελευταία 18.000 χρόνια και κυρίως οι επιπτώσεις των μεταβολών αυτών στη διαμόρφωση των ακτογραμμών και γενικά των παράκτιων περιοχών. Το κλίμα είναι γνωστό ότι μεταβάλλεται περιοδικά και ότι τα κυριότερα αίτια αυτής της περιοδικότητας είναι αστρονομικά (θεωρία Milankowitch). Έτσι, κατά το Τεταρτογενές, έχουν παρατηρηθεί διαδοχικές παγετώδεις και μεσοπαγετώδεις περίοδοι, λόγω αυξομείωσης της ηλιακής ακτινοβολίας που δέχεται η Γη. Η τελευταία παγετώδης περίοδος τελειώνει πριν από 18.000 έτη περίπου, επειδή, για τους ίδιους αστρονομικούς λόγους, η μέση θερμοκρασία της Γης άρχισε σχεδόν απότομα να αυξάνεται. Εξαιτίας αυτής της αύξησης, τεράστιες μάζες παγετώνων που είχαν συσσωρευτεί στις ηπείρους άρχισαν να τήκονται, με αποτέλεσμα την απελευθέρωση τεράστιων ποσοτήτων υδάτων, που μέχρι τότε ήταν δεσμευμένο στους παγετώνες, με επακόλουθο την βαθμιαία άνοδο της στάθμης της παγκόσμιας θάλασσας, που γύρω στο 18.000 ΒΡ βρισκόταν περί τα 125 μέτρα χαμηλότερα από σήμερα. Η άνοδος αυτή προκάλεσε βαθμιαία την κατάκλυση πολλών περιοχών που σήμερα αποτελούν τον πυθμένα του Αιγαίου μέχρι ένα βάθος γύρω στα 125 μέτρα, και αυτό συνέβη μέσα σε λίγες χιλιάδες χρόνια, ήτοι μεταξύ του 18.000 και του 6.000 χρόνια πριν από σήμερα περίπου. Ο προϊστορικός άνθρωπος λοιπόν, που κατοικούσε στην ευρύτερη περιοχή του Αιγαίου, ενώ μέχρι πριν 18.000 χρόνιαζούσε για δεκάδες χιλιάδες χρόνια σ' ένα γεωπεριβάλλον δυσμενές μεν, αλλά σχετικά σταθερό, μετά το 18.000 ΒΡ, εξαιτίας της αύξησης της μέσης θερμοκρασίας της ατμόσφαιρας της Γης, γίνεται μάρτυρας κοσμογονικών μεταβολών, ιδιαίτερα όσον αφορά την μεταβολή του παράκτιου τοπίου, αφού χρόνο με το χρόνο κατακλύζονταν, αργά μεν, αλλά σταθερά οι παράκτιες περιοχές, με μεγάλες σχετικά μέσες ταχύτητες, αφού κάτω από ορισμένες συνθήκες πρέπει να ξεπερνούσαν τα 5 εκατοστόμετρα το χρόνο. Εάν μαζί μ' αυτές τις μεταβολές των ακτογραμμών λάβουμε υπόψη και τη σεισμικότητα, την ηφαιστειότητα και τα σύνδρομα φαινόμενα (παλιρροιακά κύματα, απότομες καταβυθίσεις ή ανυψώσεις παράκτιων περιοχών λόγω σεισμών, κατολισθήσεις, καταπτώσεις βράχων κ.α.) το φυσικογεωγραφικό σκηνικό, ιδιαίτερα κατά τη διάρκεια ορισμένων περιόδων, πρέπει να ήταν εφιαλτικό. Την περίοδο αυτή, πρέπει να δημιουργήθηκε η Τρίτη γενιά των θεών που προέρχεται από το ζευγάρωμα της Γαίας, της Μεγάλης Μάνας των πάντων, και του Ουρανού: οι Τιτάνες, οι Εκατόγχειρες, οι Κύκλωπες και οι Γίγαντες, πρέπει να αντιπροσωπεύουν της καταστροφικές δυνάμεις της φύσης, αυτές που τον τρομοκρατούν και του παίρνουν τη Γη κάτω από τα πόδια του. Τι άλλο μπορεί να αντιπροσωπεύουν οι Γίγαντες παρά ηφαίστεια όταν, σύμφωνα με την Ελληνική Μυθολογία, ". έπνεαν πυρ από το στόμα τους.", ".έκραζαν αγριότατα.", ". ακόντιζαν δε στους ουρανούς πέτρες και δέντρα αναμμένα."; Ο παλαιολιθικός άνθρωπος όμως, έχει ανάγκη να δημιουργήσει κι άλλους θεούς που θα τον προστατεύσουν από τις φυσικές καταστροφές. Έτσι, δημιουργεί την τέταρτη γενιά θεών από το ζευγάρωμα ενός Τιτάνα, του Κρόνου, και μιας Τιτανίδας, της Ρέας. Σ' αυτήν τη γενιά ανήκουν ορισμένοι από τους μεγάλους θεούς και συγκεκριμένα οι 6 πρώτοι, όπως η Δήμητρα, η Εστία, η Ήρα, ο Άδης, ο Ποσειδών και ο Ζευς. Εξάλλου, το ευνοϊκό του κλίματος, εξασφαλίζει στον προϊστορικό άνθρωπο τα βασικά είδη διατροφής του, είτε είναι τροφοσυλλέκτης είτε τροφοπαραγωγός, και μάλιστα χωρίς ιδιαίτερη προσπάθεια, κάτι που σημαίνει ότι του αφήνει ελεύθερο χρόνο που του επιτρέπει να κινείται συνεχώς έξω στον ελεύθερο χώρο και του επιτρέπει να συναναστρέφεται άλλους ανθρώπους, που κι αυτοί έχουν ελεύθερο χρόνο. Για να μπορέσει να σταθεί στη μικρή του κοινωνία όμως πρέπει να μάθει να συζητάει, να επιχειρηματολογεί, να αντικρούει, να συμφωνεί ή να διαφωνεί με τον συνομιλητή του. Όλα αυτά τα στοιχεία όμως αποτελούν ουσιαστικά τα βασικά στοιχεία της Δημοκρατίας, του πολιτεύματος του λόγου και του αντίλογου. Εμείς λοιπόν πιστεύουμε ότι οι φυσικογεωγραφικές και γεωλογικές μεταβολές κατά την μυθολογική και γενικά την προϊστορική εποχή έχουν καθορίσει άμεσα ή έμμεσα όλα τα επιμέρους στοιχεία, αλλά κι αυτή την ίδια την εξέλιξη του αρχαιοελληνικού πολιτισμού ; Native civilizations, as that of the ancient Greeks, are directly connected to the geological and the physicogeographical regime of the regional area in which they have been developed, and mainly to its geoenvironmental evolution since the last glacial period (18,000 BP). Volcanoes, earthquakes and mineral resources, as building materials, the underground water and the various minerals, consist the so called geological regime. Soil, climate, relief, shorelines and coastal areas belong to the physicogeographical regime of an area. The regional territory, where the prehistorical and historical ancient Hellenic civilization has been developed is the Hellenic Peninsula, Aegean Sea and the coasts of Minor Asia, from the geotectonic point of view, composing the Hellenic Arc which is characterized by intense tectonic, seismic and volcanic activity. The main factor contributing to the evolution of the Hellenic civilization is the climate and its fluctuations, mainly during the last 18,000 years, and most essentially the impact of these changes in the displacement of the shorelines and the coastal areas in general. It is widely known that climate changes periodically and that the main reasons for this periodicity are astronomical (Milankowitch theory). Thus, during Quaternary, several successive glacial and interglacial periods have been observed due to the increasing and decreasing of the solar radiation that earth receives. The last glacial period ends approximately 18,000 years BP, since, for the same astronomical reasons, earth's mean temperature abruptly increased. Due to this increase, huge volume of glaciers started to melt resulting to the release of large water quantities, which until that time were trapped within the glaciers, resulting in the gradual rise of the global sea level that, around 18,000 years BP, was about 125 m. lower than today. This rise caused successively transgression of all areas that nowadays constitutes the seafloor of Aegean Sea until a depth around 125 m. This transgression happened within a few thousands of years, namely between 18,000 and 6,000 years BP approximately. Therefore, prehistoric man who inhabited the area of the Aegean Sea, though until 18,000 years BP was living for tens of thousands of years in a geoenvironment unfavourable but more or less stable, following 18,000 BP and due to the increase of the mean temperature of the earth's atmosphere, he witnessed cosmogony changes. These especially concern the change of the coastal scene, since year after year, slowly but steadily, coastal areas are being submerged, featuring high mean velocities that under certain conditions should exceed 5 m per year. Together with these shoreline displacements if one takes also into account seismicity, volcanic activity and the related phenomena (tsunamis, abrupt uplift or subsidence of the coastal areas caused by earthquakes, landslides, rockfalls, etc.), the physicogeological scenery should have been a nightmare. The third generation of the Gods must have been originated during this period. This generation is the result of the union of Gaia (Earth), the Big Mother of all, and Ouranos (Heaven), namely Titans, Ekatoncheires, Cyclops and Giants, who might represent the destructive natural powers that terrify man and move the earth under his feet. What else than volcanoes might Giants represent, when, according to the Hellenic Mythology ". they (the giants) breathed fire from their mouth ." ".they were crying out wildly.", "they were shooting rocks and blazing trees in the sky "! ? Yet, Paleolithic and Mesolithic man needs to create more gods who will protect him from all these natural disasters. So, he originates the fourth generation that comes out of the union of the Titan Kronos and the Titanide Rhea. In this generation belong some of the great gods, such as Hera, Demeter, Estia, Hades, Poseidon and Zeus. The favorable climate ensures the basic nutrition species that man needs, either he is a food collector or he is a food producer, and especially without any particular effort. This means that it allows prehistoric man to have enough free time. Especially after his inhabitance in towns, he may be continuously mobile in the open space and he may communicate with other men having free time as well. In order to attitude within his small society, he has to learn to discuss, to argue, to oppose, to agree or to disagree with his co-speakers. Yet, all these constitute the basic substantial features of Democracy. All these physicogeographical and geological changes of the mythological and the prehistorical, in general, era, that have determined directly or indirectly all partial settings and the evolution of the civilization itself, should be promoted in such a way that the relationship between physicogeographical environment and civilization should be primarily introduced.
