Suchergebnisse

Review of: Material Media-Making in the Digital Age, Daniel Binns (2021)
Bristol: Intellect Books, 194 pp.,
ISBN 978-1-78938-349-2, h/bk, GBP 80

Ce texte examine l'importance de l'intersubjectivité comme garant du développement psychique et de la capacité de symbolisation. Le défaut intersubjectif dans un contexte de violence familiale conduirait à une perturbation de l'élaboration psychique et à une inscription dans l'agir corporel. La rencontre thérapeutique, en tant que situation rapprochée à la relation mère-enfant, repose sur la nécessité d'être sensible à ce qui se met en place et à en comprendre le sens. Elle est surtout une situation de changement qui se base sur la restauration des liens autrefois entravés et va de la négativité vers la restauration des contenus psychiques et la mise en mots. Une illustration clinique sert d'appui pour montrer cette transformation.

The main objective of this article is to make the female voice heard in an area of the world where women are discriminated against and prejudiced, despite the progress made regarding their status in status in society. The aim is to demonstrate that the translation of the male discourse produced undergoes fundamental transformations that are the result of choices studied by the translator. She intervenes She intervenes and rewrites the text in her own way, even in the way that allows her to represent herself as a full human being in her own right, not relegated to the background. Through the analysis of samples taken from the work of the Algerian thinker Malek Bennabi "Les conditions de la renaissance" as well as the questioning of the first translation by the Egyptian thinker Abdel Sabbour Chahine, considered reductive and 'religiously oriented', we are in line with the feminist approach to translation feminist approach to translation, which advocates taking a stand on the dominant discourse. By invoking some of the methodological tools of Giles' IDRC Model and by referring to the notion of subjectivity developed in the framework of feminism of colour, we proceeded to the analysis of the source and target texts. We found that the doubly masculine discourse (the author and her (the author and his translator) was reproduced differently in the target language by taking into consideration elements that are absent from the source text. The invisibility of the woman in the process since she is considered an object, she passes to the status of visibility through the translational choices, the positions taken, and thus the decisions made.

Education character has become an important issue in the world of education lately, with the increasing and varied phenomena of moral decadence occurring in society and in government circles, especially among students. The government pays less attention to fostering education character. The government is more focused on continuous curriculum reform. This condition will get worse if the government, parents and schools or madrasah receive less serious attention. Sufistic education character is an important approach to be applied to overcome these moral decadency phenomena. Therefore, this study aims to provide alternative solutions in realizing children's education character both in the family environment, school environment and social environment. In addition, in this study the author offers several concepts of education character with the Sufistic character of al-Ghazali as in the book of Mohajul Abidin: first, preserving the eyes. Second, maintain the ears. Third, take care of the mouth. Fourth, maintain the stomach.Keywords: Biography of Al-Ghazali, Sufistic Education character in the book Minhajul Abidin

This thesis intends to define the concept of modernity not as a moment, a period or a style but as a sentiment. Based on Herder's work, it shows that the very notion of sentiment can only be understood by examining what the refering notions of form, figure and Gestalt have become after Herder's time. These notions are present in the Gestalttheorie, in the critique formulated by Merleau-Ponty on this theory and in Portmann's theory of animal form (first part). They are also present in Kandinsky and Sullivan's works on art (second part). The point of convergence in all these references could be designated by the concept of « form-figure » - a concept shaped throughout this piece of research – and then be opposed to the concept of « state-figure ». This opposition allows us to critique Bruno Latour's thoughts on modernity (third part) and to finally define (fourth part) what is ultimately at stake behind the « modern sentiment » and its constitutive « forms-figures » : a minor politics idea, a concept borne by fashion and design. ; Cette thèse entend définir le moderne et la modernité non comme un moment, une époque ou un style, mais comme un sentiment. Elle montre depuis une lecture de Herder que cette notion même de sentiment ne peut être comprise que si on étudie ce qu'ont pu devenir, après Herder, les notions auxquelles il fait appel de forme, figure, Gestalt. Ces notions ont une place dans la Gestalttheorie, dans la critique que formule Merleau-Ponty contre cette théorie et chez un théoricien de la forme animale comme Portmann (première partie). Mais on les trouve aussi chez des artistes comme Kandinsky et Sullivan (deuxième partie). Le point de convergence de toutes ces références peut être désigné par le concept de « forme-figure » que l'ensemble de la recherche élabore avant de l'opposer à celui « d'état-figure ». Cette opposition permet de construire une critique de la pensée de la modernité élaborée par Bruno Latour (troisième partie) et de définir pour finir (quatrième partie) l'enjeu ultime du « ...

This thesis intends to define the concept of modernity not as a moment, a period or a style but as a sentiment. Based on Herder's work, it shows that the very notion of sentiment can only be understood by examining what the refering notions of form, figure and Gestalt have become after Herder's time. These notions are present in the Gestalttheorie, in the critique formulated by Merleau-Ponty on this theory and in Portmann's theory of animal form (first part). They are also present in Kandinsky and Sullivan's works on art (second part). The point of convergence in all these references could be designated by the concept of « form-figure » - a concept shaped throughout this piece of research – and then be opposed to the concept of « state-figure ». This opposition allows us to critique Bruno Latour's thoughts on modernity (third part) and to finally define (fourth part) what is ultimately at stake behind the « modern sentiment » and its constitutive « forms-figures » : a minor politics idea, a concept borne by fashion and design. ; Cette thèse entend définir le moderne et la modernité non comme un moment, une époque ou un style, mais comme un sentiment. Elle montre depuis une lecture de Herder que cette notion même de sentiment ne peut être comprise que si on étudie ce qu'ont pu devenir, après Herder, les notions auxquelles il fait appel de forme, figure, Gestalt. Ces notions ont une place dans la Gestalttheorie, dans la critique que formule Merleau-Ponty contre cette théorie et chez un théoricien de la forme animale comme Portmann (première partie). Mais on les trouve aussi chez des artistes comme Kandinsky et Sullivan (deuxième partie). Le point de convergence de toutes ces références peut être désigné par le concept de « forme-figure » que l'ensemble de la recherche élabore avant de l'opposer à celui « d'état-figure ». Cette opposition permet de construire une critique de la pensée de la modernité élaborée par Bruno Latour (troisième partie) et de définir pour finir (quatrième partie) l'enjeu ultime du « ...

This thesis intends to define the concept of modernity not as a moment, a period or a style but as a sentiment. Based on Herder's work, it shows that the very notion of sentiment can only be understood by examining what the refering notions of form, figure and Gestalt have become after Herder's time. These notions are present in the Gestalttheorie, in the critique formulated by Merleau-Ponty on this theory and in Portmann's theory of animal form (first part). They are also present in Kandinsky and Sullivan's works on art (second part). The point of convergence in all these references could be designated by the concept of « form-figure » - a concept shaped throughout this piece of research – and then be opposed to the concept of « state-figure ». This opposition allows us to critique Bruno Latour's thoughts on modernity (third part) and to finally define (fourth part) what is ultimately at stake behind the « modern sentiment » and its constitutive « forms-figures » : a minor politics idea, a concept borne by fashion and design. ; Cette thèse entend définir le moderne et la modernité non comme un moment, une époque ou un style, mais comme un sentiment. Elle montre depuis une lecture de Herder que cette notion même de sentiment ne peut être comprise que si on étudie ce qu'ont pu devenir, après Herder, les notions auxquelles il fait appel de forme, figure, Gestalt. Ces notions ont une place dans la Gestalttheorie, dans la critique que formule Merleau-Ponty contre cette théorie et chez un théoricien de la forme animale comme Portmann (première partie). Mais on les trouve aussi chez des artistes comme Kandinsky et Sullivan (deuxième partie). Le point de convergence de toutes ces références peut être désigné par le concept de « forme-figure » que l'ensemble de la recherche élabore avant de l'opposer à celui « d'état-figure ». Cette opposition permet de construire une critique de la pensée de la modernité élaborée par Bruno Latour (troisième partie) et de définir pour finir (quatrième partie) l'enjeu ultime du « ...

Purpose
The literature studying the effect of democratic political systems on financial development has found conflicting results. Besides, recent work has focused on the level effects of democracy on financial outcomes showing evidence of positive, negative and no direct impact. This paper aims to investigate the dynamic effects of democratic transition on financial development, namely, short run and long run effects.


Design/methodology/approach
The author wants to see whether financial development improves after a transition to a democratic system and, if it does, for how long. Using a panel data set of 48 events of democratic transitions, the paper relies on an event study and on the estimation of dynamic panel after controlling for other potential determinants.


Findings
The author finds that transition to a democratic system raises the development of the financial sector. Particularly, these positive effects occurred in the long run, i.e. about 5 years following the democratic transition. However, in the short run, the author finds that the move to democracy does not impact financial outcomes.


Originality/value
The author contributes by studying the role of political system change on financial development finding that democratic transition increases the development of the financial system. Further, the author contributes by finding that the move to democracy produces positive effect only in the long term.