Remarks about the Nietzschean dancing God

Nietzsche and (or beyond) Christianity: a worn-out and almost banal problem? In this article I argue that this topic goes far beyond a mere opposition between Christians and Nietzscheans. I want to show that the actual issue concerns Nietzsche's attempt to overcome the moral hegemony within Christianity. In this context, Nietzsche's project is not to eradicate religion but to define a new religious space. I have organised this discussion by conceiving the present article around a sentence extracted from Thus spoke Zarathustra. I first analyse the text in its syntactic and rhetorical composition. Nietzsche's very strategy (or trick?) resides in undermining the Christian discourse from the inside: he argues that Christian morality is not inspired by a cheerful affirmation of life but by its vindictive negation. I further show that Nietzsche puts at stake the Christian striving for a justification of life and consequently its incapacity of accepting the question-mark of existence. Within his radical critique, Nietzsche points to an authentic attitude towards life, an attitude which I have designated with the metaphor of the dancing God.     

Signification et signifiance

Sans résumé     

Truthlikeness without truth: A methodological approach

In this paper, an attempt is made to solve various problems posed to current theories of verisimilitude: (1) the (Miller's) problem of linguistic variance; (2) the problem of which are the best scientific methods for getting the most verisimilar theories; and (3) the question of the ontological commitment in scientific theories. As a result of my solution ot these problems, and with the help of other considerations of epistemological character, I conclude that the notion of Tarskian truth is dispensable in a rational (and realist) interpretation of the scientific enterprise. As a logical result, however, falsificationism will be vindicated.

... and in brief, a speaker must always aim at verisimilitude, and send the truth packing.

Plato,Phaedrus, 272 EI want to express my gratitude to Professors García-Bermejo, Niiniluoto, and Zofío for interesting comments and critiques of several of the ideas in this paper, and to Miss Karen Firnich for correcting my English. I am also thankful to an anonymous referee who indicated several dark points on a previous version of my article.     

Critique,rhétoricité, communicabilité

La critique et la théorie littéraires contemporaines présentent un paradoxe: elles notent, par la référence à la rhétorique, la rupture de la propriété argumentative ou persuasive de l'oeuvre; elles préservent cependant l'hypothèse d'une propriété conversationnelle du littéraire — hypothèse qui n'est pas véritablement explicitée. Ce paradoxe, essentiellement lisible dans la déconstruction, l'est aussi dans les propositions de Sartre, dans la pensée du dehors de Foucault, dans le dialogisme de Bakhtine. Le paradoxe revient, de fait — telle est la thèse de cet article — à énoncer une propriété rhétorique et persuasive de l'oeuvre, au moyen d'une référence à la rhétorique d'abord confondue avec la tropologie et avec l'effacement du jeu persuasif. Cette ultime propriété rhétorique et persuasive est identifiable par l'alliance de lasuspension, qui caractérise le texte littéraire dès lors qu'il est placé sous le signe de la rupture de l'argument et de la persuasion, et du jeu anaphorique, lui-même indissociable du questionnement que suscite la suspension. A partir du constat de ce questionnement, il convient de dire que le texte littéraire est ce qui fait fond à la disparité du doxique, et que celui-ci apparaît comme le répondant provisiore et variable de lacasuistique que constitue le texte littéraire.     

Visual perception of surface curvature: psychophysics of curvature detection induced by motion parallax

The continuous approach to optic-flow processing shows that the curvature of a moving surface is related to a second spatial derivative of the velocity field, the spin variation (Droulez & Cornilleau-Pérès, 1989). With this approach as a theoretical framework, visual sensitivity to the curvature of a cylinder in motion was measured using a task of discrimination between cylindrical and planar patches. The results confirm the predictions suggested by the theory: (1) Sensitivity to curvature was always greater when the cylinder axis and the frontal translation were parallel than when they were orthogonal. The ratio of curvature detection thresholds in the two cases was between 1.3 and 2.5; the value predicted from the spin variation theory is about 2. (2) Sensitivity to curvature increased strongly with the velocity of the motion but was only weakly affected by its amplitude and the duration of viewing for the range of values used in our experiments.     

Pain in the eye of the beholder: Variations in pain visual representations as a function of face ethnicity and culture

Pain experienced by Black individuals is systematically underestimated, and recent studies have shown that part of this bias is rooted in perceptual factors. We used Reverse Correlation to estimate visual representations of the pain expression in Black and White faces, in participants originating from both Western and African countries. Groups of raters were then asked to evaluate the presence of pain and other emotions in these representations. A second group of White raters then evaluated those same representations placed over a neutral background face (50% White; 50% Black). Image-based analyses show significant effects of culture and face ethnicity, but no interaction between the two factors. Western representations were more likely to be judged as expressing pain than African representations. For both cultural groups, raters also perceived more pain in White face representations than in Black face representations. However, when changing the background stimulus to the neutral background face, this effect of face ethnic profile disappeared. Overall, these results suggest that individuals have different expectations of how pain is expressed by Black and White individuals, and that cultural factors may explain a part of this phenomenon