Gestion de l'imaginaire (1)

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Parerga and Paralipomena (Schopenhauer) Parerga and Paralipomena (Greek for "Appendices and Omissions"; German: Parerga und Paralipomena) is a collection of philosophical reflections by Arthur Schopenhauer published in 1851.[1] The selection was compiled not as a summation of or introduction to Schopenhauer's philosophy, but as augmentary readings for those who had already embraced it,[2] although the author maintained it would be comprehensible and of interest to the uninitiated nevertheless.

Parerga and Paralipomena (Schopenhauer)

The collection is divided into two volumes, covering first the parerga and thereafter the paralipomena to that philosophy. The parerga are six extended essays intended as supplementary to the author's thought. The paralipomena, short ruminations divided by topic into thirty-one subheadings, cover material hitherto unaddressed by the philosopher but deemed by him to be complementary to the parerga.[2] Mythe de Pandore. Pandora (mythe d'Eve) Pandora (1861), by Pierre Loison (1816–1886) According to the myth, Pandora opened a jar (pithos), in modern accounts sometimes mistranslated as "Pandora's box" (see below), releasing all the evils of humanity—although the particular evils, aside from plagues and diseases, are not specified in detail by Hesiod—leaving only Hope inside once she had closed it again.[6] She opened the jar out of simple curiosity and not as a malicious act.[7] The myth of Pandora is ancient, appears in several distinct Greek versions, and has been interpreted in many ways.

Pandora (mythe d'Eve)

In all literary versions, however, the myth is a kind of theodicy, addressing the question of why there is evil in the world. In the seventh century BC, Hesiod, both in his Theogony (briefly, without naming Pandora outright, line 570) and in Works and Days, gives the earliest literary version of the Pandora story; however, there is an older mention of jars or urns containing blessings and evils bestowed upon humanity in Homer's Iliad: Pandora' box. Vanity (Pandora) Komos ritualistic_drunken (Dyonisos) The Kōmos (Ancient Greek: κῶμος; pl. kōmoi) was a ritualistic drunken procession performed by revelers in ancient Greece, whose participants were known as komasts (κωμασταί, kōmastaí).

Komos ritualistic_drunken (Dyonisos)

Its precise nature has been difficult to reconstruct from the diverse literary sources and evidence derived from vase painting. The komos must be distinguished from the pompe, or ritual procession, and the chorus, both of which were scripted. The komos lacked a chorus leader, script, or rehearsal.[1] In the performance of Greek victory odes (epinikia) at post-Game celebrations for winning athletes, the choral singers often present themselves as komasts, or extend an invitation to join the komos, as if the formal song were a preliminary to spontaneous revelry.[2] Nevertheless some komoi were expressly described as "semnoí" ("modest", "decent"), which implies that standard komoi were anything but. Shield of Heracles. An early 5th-century BCE depiction of Heracles (left) fighting Cycnus (Attic black-figure amphora, found at Nola) The Shield of Heracles (Ancient Greek: Ἀσπὶς Ἡρακλέους, Aspis Hērakleous) is an archaic Greek epic poem that was attributed to Hesiod during antiquity.

Shield of Heracles

The subject of the poem is the expedition of Heracles and Iolaus against Cycnus, the son of Ares, who challenged Heracles to combat as Heracles was passing through Thessaly. To serve as an introduction, fifty-six lines have been taken from the Hesiodic Catalogue of Women. The late 3rd- and early 2nd-century BCE critic Aristophanes of Byzantium, who considered the Catalogue to be the work of Hesiod, noted the borrowing, which led him to suspect that the Shield was spurious.[1] The poem takes its cue from the extended description of the shield of Achilles in Iliad xviii, from which it borrows directly, with a single word altered:

Iconoclasme (en allemand) Iconoclasme. Robotique en jeu_vidéo (japanimation) The series was first aired in North America on San Francisco–area PBS member station KTEH (now KQEH) in 2000.

robotique en jeu_vidéo (japanimation)

The first two episodes first saw nationwide broadcast in dubbed format on Cartoon Network as part of Toonami's Giant Robot Week on February 24–25, 2003; both episodes were heavily edited for content. Later, the entire series aired nearly unedited on Adult Swim from October 20, 2005, to April 21, 2006. In 2004, A.D. Self-regulating (ghost machine) 1.

self-regulating (ghost machine)

The holon 1.1 The organism in its structural aspect is not an aggregation of elementary parts, and in its functional aspects not a chain of elementary units of behaviour. 1.2 The organism is to be regarded as a multi-levelled hierarchy of semi-autonomous sub-wholes, branching into sub-wholes of a lower order, and so on. Sub-wholes on any level of the hierarchy are referred to as holons. Holon (Koestler) A holon (Greek: ὅλον, holon neuter form of ὅλος, holos "whole") is something that is simultaneously a whole and a part.

Holon (Koestler)

The word was coined by Arthur Koestler in his book The Ghost in the Machine (1967, p. 48). Koestler was compelled by two observations in proposing the notion of the holon. The first observation was influenced by Nobel Prize winner Herbert A.