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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.

The article demonstrates how Library of Congress Subject Headings (LCSH) geographic headings for the Southern Levant mirror the political investment of Congress and the American public in Middle East politics over the last thirty years. The headings' evolution as well as Library of Congress rules governing their creation is charted in detail. These LCSH headings contrast markedly with those established in other national libraries (BnF, DNB) and independent value vocabularies (TGN, GeoNames), and global opinion regarding the legal status of the occupied territories. I sketch the historical context of their formation and offer suggestions as to how libraries can "decolonize" their metadata in service of Sanford Berman's "access and equity."

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 ...

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.