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The lecture engages the debate concerning the relation between politics and ethics. Ethics is the guardian of good practice and policy the guardian of the quality of life in the community. The author discusses their mutual historical development paying special attention to two dates. First in 1789, when the Bastille was demolished and the Republic founded with a slogan of ethical content ("Liberty, Equality, Fraternity"), but only in order to control it. The second date is 1989, the year in which the Berlin Wall fell, constitutes a turning point and the dominance of ethics over politics promoted by the triad: democracy, accountability, and human rights, which undoubtedly belong to the highest value. The problem with this is that ethical values can be used in an ideological way. In the final section, the Christian position on the proper relationship between ethics and policy and vice versa is discussed. ; The lecture engages the debate concerning the relation between politics and ethics. Ethics is the guardian of good practice and policy the guardian of the quality of life in the community. The author discusses their mutual historical development paying special attention to two dates. First in 1789, when the Bastille was demolished and the Republic founded with a slogan of ethical content ("Liberty, Equality, Fraternity"), but only in order to control it. The second date is 1989, the year in which the Berlin Wall fell, constitutes a turning point and the dominance of ethics over politics promoted by the triad: democracy, accountability, and human rights, which undoubtedly belong to the highest value. The problem with this is that ethical values can be used in an ideological way. In the final section, the Christian position on the proper relationship between ethics and policy and vice versa is discussed.

Freek Colombijn
Cet article retrace les grands traits de l'histoire du football indonésien pendant ce siècle. Le développement du football indonésien suit à un degré remarquable l'histoire récente de l'Indonésie. Les principaux points en sont : les intérêts financiers concernés, la rivalité entre associations de football nationalistes et hollandaises, les tentatives de modernisation du football par le gouvernement de l'Ordre Nouveau et les batailles rangées (entre camps adversaires qui changent selon les périodes).

After more than a decade of dictatorship, Chilean arts were confronted, in 1990, to a democratic framework: the common enemy was gone; or not? In this sense, my investigation seeks to answer to two interdependent questions. Which path did the Chilean state follow so as to grant an artistic institutional framework after authoritarianism? How did Chilean artists perceive this transformation, and how did they regard (report themselves to) the past in their works? Besides this double intention, this article seeks additionally, as its title indicates, to verify the persistence or not of "artistic authoritarian enclaves". I will verify how this formula introduced by Manuel Antonio Garretón gains a different sense if we think about it from the point of view of the relation between art and politics.