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Θηριώδεις καὶ νοσηματώδεις : Comportements contre nature en Éthique à Nicomaque 1148b 15-1149a 20
Stephane MERCIER 한국서양고전학회 2013 西洋古典學硏究 Vol.52 No.-
Aristotle describes the three good states of character in terms of virtue, continence and superhuman virtue. In book VII of the Nicomachean Ethics he examines the bad state of character that is opposed to continence (egkrateia), and is therefore termed as incontinence (akrasia). Yet the very meaning of this concept needs to be understood properly, and the Philosopher makes every effort to define precisely what it means to be “incontinent,” and what kind of excess this bad state of character is concerned with. Yet it is obvious that our use of words can be at odds with technical accuracy, and Aristotle takes great pains to take those variations into account so that he can provide us with a general framework that is both precise and likely to account for the way we speak in daily life. Incontinence properly understood has to do with a lack of self-control applied to bodily pleasures such as food and sex. Aristotle then opposes such “plain” incontinence-which is thus concerned with the same objects as temperance (sophrosune) and self-indulgence or licentiousness (akolasia)- to two other kinds of incontinence “by metaphor:” one that has nothing to do with the usual objects of temperance and intemperance on the one side (honor and wealth for example), and one that has to do with bodily pleasures but exceeds the limits of human morality on the other side. That is because when we speak of akrasia we sometimes mean some state of mind that does not fit exactly the definition of “plain” incontinence; and such use has to be accounted for. Hence Aristotle’s terming this broader use of the word as incontinence “by metaphor.” Both kinds of incontinence by metaphor differ thus from each other and from plain incontinence, and are to be investigated in turn. After having dealt with the first kind of incontinence by metaphor in 1147b 20-1148b 14 of the Nicomachean Ethics, Aristotle examines the second kind of incontinence by metaphor in 1148b 15-1149a 20-the latter section being the main focus of the present essay. More precisely, this case of incontinence by metaphor is related to incontinence because both concern bodily pleasures, yet it is said to be “by metaphor” owing to the fact that the kind of bodily pleasures it is concerned with are abnormal and inhuman. Hence the cause of such incontinence is described as brutishness or as a state that arises as a result of a disease. The general meaning of the text as a whole is plain, yet difficulties arise when one delves into the details of Aristotle’s explanations, for he approaches the problem from various angles and feels rather free in his use of key concepts of his philosophical vocabulary (especially that of phusis). The examples he provides are sometimes quite elliptic, and their meaning needs to be elaborated upon so that they can be understood properly. This essay is concerned with the clarification of such details in order to provide the reader of the Nicomachean Ethics with a sound understanding of this section on morally diseased and brutish states. Several commentaries by Greek and Latin interpreters from the Middle Ages (the anonymous Byzantine commentator of Book VII, Albert the Great, and Thomas Aquinas) are examined all the way through, for their own reception of the text helps shed some light on the whole passage. Their comments, together with more recent observations from nineteenth- and twentieth-century scholars, allow us to get a better grasp of both Aristotle’s text and how it was read and understood (or misunderstood) by earlier interpreters.
Le texte parodique sur timbre musical
Stephane BOISSINOT 프랑스문화예술학회 2005 프랑스문화예술연구 Vol.14 No.-
대중매체를 통해 무의식적으로 인식했던 사실들은 우리 문화와 환경을 배경삼아 아주 독특한 모습으로 나타나곤 한다. 그러한 특성을 지닌 것 중 하나가 패러디송인데, 이는 우리가 이미 알고 있거나 인지도가 높은 노래를 패러디라는 형식을 통해 다른 가사로 변형한 것을 말한다. 이 패러디송이 실제로 효력을 나타내기 위해서는 그 익살스런 유머가 고스란히 담긴 채 대중에게 충분히 인지되어야 한다는 점이다. 한편, 기생하는 생물의 희생양이 된 셈인 기존의 재즈 음악이라든지 클래식, 또는 전통적인 음악들은 패러디송과 함께 존재하면서, 이들에게 새로운 음악 가사를 이식받을 수 있는 근원을 제공하는 역할을 한다. 이러한 형식을 띈 패러디 음악은 퇴색되지 않을 뿐더러, 음성학적으로 외국어를 접하는 방식처럼 패러디를 인식하는 것과도 관계가 있다. 사회의 변화를 야기하거나 대변하면서, 이 새로운 문화적 창조를 생산하는 근원인 패러디는 다시금 반작용과 재적응의 원인을 낳기도 한다. 그런 과정에서, 친숙하고 귀에 익은 멜로디라인과 함께 이 가사들은 반복되고 결국 은연중에 대중에게 스며들어 체화가 되는 것이다. 그러한 의미에서 패러디 송은 프랑스 문화를 배우는 데 있어 고갈되지 않는 샘물과도 같은 존재라고 생각한다. 그것들이 말해내는 풍부한 주제들은 물론이거니와 유머와 익살, 단순 모방과 패러디 사이에서 어떻게 말로 표현하는지에 대한 방법까지도 제시하기 때문이다.
STEPHANE BALAC 한국산업응용수학회 2013 Journal of the Korean Society for Industrial and A Vol.17 No.4
The Interaction Picture (IP) method is a valuable alternative to Split-step methods for solving certain types of partial differential equations such as the nonlinear Schrodinger equation or the Gross-Pitaevskii equation. Although very similar to the Symmetric Split-step (SS) method in its inner computational structure, the IP method results from a change of unknown and therefore do not involve approximation such as the one resulting from the use of a splitting formula. In its standard form the IP method such as the SS method is used in conjunction with the classical 4th order Runge-Kutta (RK) scheme. However it appears to be relevant to look for RK scheme of higher order so as to improve the accuracy of the IP method. In this paper we investigate 5th order Embedded Runge-Kutta schemes suited to be used in conjunction with the IP method and designed to deliver a local error estimation for adaptive step size control.