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Based on the analysis of mediated discussion groups conducted with pupils in a primary school operating in cooperative classes and with secondary school pupils in a more traditional establishment, this text draws on psychoanalysis to put into perspective the pupils' feelings on the notion of well-being and the teacher's position. Understood as a condition for the emancipation of the subject, well-being is approached from the angle of the relationship to knowledge in the transmission link. How can teacher support the pupil in his or her learning process so that the desire for knowledge is transformed into intellectual curiosity? If, for Freud, this path of sublimation is one of the dimensions of the educational process, wouldn't well-being in transmission be sought in teacher's ability to facilitate this sublimatory activity? [ABSTRACT FROM AUTHOR]

Although they have often been used as metaphors for the act of writing, pregnancy and childbirth have a long history of being left out of literature itself, especially as diegetic events in the novel. Jessie Greengrass’s novel Sight (2018) provides us with a rare pregnant narrator and as such includes pregnancy as a diegetic event and as a theme. Starting with the assessment that pregnancy in literature can be summed up by the image of “a man pac[ing] a carpet” while a woman gives birth outside the frame of the narration, Greengrass’s novel tackles the compulsion to look and to look away, to show and to hide that is at the heart of this image. The novel shows that pregnant bodies have been overlooked by literature not for lack of curiosity, but rather because of an obsessive curiosity for what lies inside them and what comes out of them. By investigating scientist/object relationships alongside mother/daughter relationships, Sight formulates the beginning of an ethics of looking at and of writing about bodies, which lies in a practice of parenthood that acknowledges both curiosity for and discomfort with bodies. The novel thus deconstructs the metaphor of writing as pregnancy and childbirth and points to an ethical way of incorporating bodies, especially female ones, into literature.

Copyright of A Contrario. Revue Interdisciplinaire de Sciences Sociales is the property of Bangkok Services Network (BSN) Co., Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper synthesizes theory and research on confirmation bias (CB), curiosity, and news/information literacy education with the goal of understanding how helping students critique their tendency to engage in CB spurs curiosity and critical consciousness about learning. Curiosity about the self is spurred when people realize their CB tendencies. Curiosity about the larger social world is spurred when students learn how CB affects the way they look at the world. A flipped classroom approach reflects the work of Paulo Freire, who argued critical education should be experiential with faculty playing a facilitating, rather than an “expert” role. Cet article présente une synthèse de la théorie et de la recherche sur les préjugés de confirmation, la curiosité et la littératie des nouvelles/des informations avec pour objectif la compréhension de la manière dont on peut aider les étudiants à critiquer leurs tendances à participer pour stimuler la curiosité concernant les préjugés de confirmation et la conscience critique relativement à l’apprentissage. La curiosité à propos de soi est stimulée quand les gens se rendent compte de leurs tendances à avoir des préjugés de confirmation. La curiosité à propos du monde social plus vaste est stimulée lorsque les étudiants apprennent comment les effets des préjugés de confirmation affectent la manière dont ils voient le monde. Une approche basée sur la salle de classe interactive reflète le travail de Paulo Freire, qui estime que l’éducation critique devrait être basée sur une expérience et où les professeurs tiennent un rôle d’animateurs et non pas d’«experts ».

The relationship of Gaston d’Orléans and his entourage with Antiquity is experienced above all as a living dialogue that gives meaning to the present, a shared culture revisited in the light of the aristocratic culture of the early 17th century. Antiquity, through its objects, texts and scholarly commentaries, nourished an imagination of power and war, and the reinvestment of ancient genres contributed to the elaboration of a reflection of oneself through the imitation of the Ancients, to the point of constructing a sociability through spectacles and published fictions. This concern for self-affirmation through the Antique around Gaston d’Orléans reveals, more than a political opposition, a counter-alleys of power.

The article reexamines the equivocations of "curiosity" under different aspects through the dual prism of disease and cure. It mentions political one, as a contagious illness in times of turmoil; the anthropological one, as natural and original human condition; the medical one, as a symptom of mental morbidity and vitality. It also mentions epistemological one, as experience of the limits and the possibilities in a world in perpetual motion.

Copyright of L'Année Ronsardiennne is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article seeks to explore the tension underlining the scientific and educational uses of terrestrial globes in earlymodern France. The success of globes as trade goods valued by the French elites as well as their frequent representation in the visual culture of the early-modern era tended to obscure the critical positions of geographers and mapmakers towards these cartographical objects. Here, I intend to reconstruct the complexity of the debates surrounding terrestrial globes, their reception and use by studying geographical textbooks and globe manuals composed between 1665 and 1715. [ABSTRACT FROM AUTHOR]

Beginning with Jacques Derrida’s Beast and the Sovereign, I identify two forms of curiosity: 1) scientific curiosity, which proceeds through objective dissection and 2) therapeutic curiosity, which proceeds through observational confinement. Through an analysis of Derrida’s treatment of both sorts of curiosity, I notice and develop a third, deconstructive form of curiosity. Through repeated turn to the work of Sarah Kofman, I characterize this third curiosity as, by turns, linguistic, animal, and critical. As linguistic, this curiosity is a penchant for wordplay and a keenness for the unsteady reservoirs of signification, resisting any clean dissection of meaning or the confinement of terms. As animal, it tracks a scent, regularly suspending its paw, as if to emphasize the meandering and precarious quality of knowledge. And as critical, it combats the illusions of pure revelation and instead draws attention to the conjuring trick, the systematic substitution of signs, undergirding it. Finally, I consider in what way Derrida’s resistance to philosophy may be read on the grounds not of a singular wonder but of multiple curiosities.

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article shows the way in which the discovery of the existence of the Absolute is made in existential metaphysics. This existential metaphysics provides us with knowledge about reality. It shows the content of the experience of being, the content given to us in the transcendentals. It also unveils the foundation of the rational order, which is given to us in the discovery of the first principles of the existence of being and of cognition. Metaphysics provides us also with knowledge concerning the structure of being. It shows us being as composite and plural; being which is “insufficient” in its structure and calls for an explanation. That being—that is problematized in existence, given to us in experience, and incompletely intelligible in itself—lifts us toward its ultimate “complement” and understanding, to the Absolute.

[Vichian resonances in Leopardi’s Essay on the popular errors of the ancient people]. This paper aims to show the influence of Vico’s thought in Leopardi’sEssay on the popular errors of the ancient people. Such an influence is evident:in particular, Leopardi resumes Vico’s theory on Truth and the emergence of Belief. There are also differences between the two authors about the criticism they both address to the educational system. Furthermore, both Leopardi and Vico wrote about the cognitive process shared by children and primitive men characterized by wonder and curiosity.

Copyright of Pouvoirs is the property of Editions du Seuil and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Croatica et Slavica Iadertina is the property of University of Zadar, Department of Croatian & Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The mystery fiction writer Erle Stanley Gardner and his publisher Thayer Hobson of Morrow devised an unusual procedure for connecting the first ten Perry Mason novels with ‘leads’ to provoke the reader’s curiosity, and so promote the sale of the succeeding book. The genesis of these ‘leads’, and the contrasting views of author and publisher on the requirements of endings in mysteries, is documented through their correspondence. The paper examines Erle Stanley Gardner’s resourcefulness in triggering different types of curiosity, and the issues that could arise when publishers substituted or curtailed these ‘leads’ in reprint editions. In translated editions the endings of these books became especially liable to modifications according to the expectations of the target culture. Differing conventions and fashions for the concluding textual threshold are exemplified from the manuscript evidence (including novels written by Erle Stanley Gardner under the pseudonym A.A. Fair) and from the very extensive dissemination of these best-selling works in book form.

Based on a Bright Young Minds webinar given on February 7, 2017, this paper shows the importance of nurturing curiosity in students as an integral part of information literacy (IL) and science literacy. There are obvious parallels between "Research as Inquiry," as described in the ACRL Framework for Information Literacy for Higher Education (2016) and scientific inquiry. In both cases, curiosity is the fuel that drives information gathering and the pursuit of new knowledge. This paper discusses three pedagogical strategies to help information literacy librarians incite curiosity in students and promote scientific literacy. Bright Young Minds is a webinar series hosted by the Ontario Library Association’s Education Institute. It provides a platform for MLIS students and recent graduates to share their research and to foster connections between academic schools and information professionals. The webinar and this subsequent article grew out of an MLIS project exploring the concept of curiosity and its application in promoting scientific literacy in academic libraries. I draw on my dual experiences as both a Chemistry graduate student and participant in IL sessions, and as a recent MLIS graduate and IL instructor. Basé sur le webinaire « Bright Young Minds » offert le 7 février 2017, cet article montre l’importance de favoriser la curiosité auprès des étudiants comme élément essentiel de la formation documentaire et de l’enseignement des sciences. Il existe des parallèles évidents entre la notion de « recherche comme enquête », telle que décrite dans le « Framework for Information Literacy for Higher Education (2016), » et la recherche scientifique. Dans les deux cas, la curiosité mène la recherche documentaire et la poursuite de nouvelles connaissances. Cet article présente trois stratégies pédagogiques pour aider les bibliothécaires de formation documentaire à inciter la curiosité auprès des étudiants ainsi que promouvoir la recherche scientifique. « Bright Young Minds » est une série de webinaires offert par l’Education Institue de la Ontario Library Association. Elle offre une occasion aux étudiants en science de l’information et aux nouveaux diplômés de partager leur recherche ainsi que de tisser des liens entre les écoles de bibliothéconomie et les professionnels de l’information. Le webinaire et cet article subséquent émergent d’un projet d’école explorant le concept de la curiosité et de son utilisation dans le contexte de la promotion de la recherche scientifique au sein des bibliothèques universitaires. Mes propos sont basés sur mes expériences en tant qu’étudiant diplômé en chimie et participant à des sessions de formation documentaire et en tant que récent diplômé en sciences de l’information et formateur en recherche documentaire.

Curiosity is commonly referred to as a way of being, or an object of curiosity. How curiosity is part of our daily lives, how we engage with curiosity intellectually has a long and interesting history. Since the sixteenth century it has been manifest in cabinets of curiosity, museums and curio cabinets; exercises in collecting, self-reflection and discovery. However, the end of the twentieth-century has altered our sense of the world, through the speed and accessibility of information leaving a changed relationship with wonder. This paper discusses the role of curiosity in research as a “habit of curiosity”, (Benedict 2001, 2) a method for discovery. It reviews its historical manifestations and concerns, locating it through objects and actions, and questions what new meanings the twenty-first century brings with it. Is curiosity at risk? Is it still risky? The relationship between the individual and their interior and exterior socio-cultural landscape continually creates new meanings for knowledge and how we achieve it. This shadowy landscape of our curiosity has not lost meaning intellectually, but it in our shrinking, globalized world how we engage with it requires a new investigation.

Utopian writings in the seventeenth century were very often a curious combination betweenliterary fantasy and their authors’ design for an ideal social, scientific and religious order whichthey considered to be necessary and imminent. These fictional depictions were generally conceivedas necessary complements to a more ample and consistent program for a religious, scientific andsocial reform. In the following study we attempt to demonstrate just to what extent thesepreliminary considerations apply to one of Johann Valentin Andreae’s best known works,Christianopolis.

Frequent among Renaissance humanists, the criticism of vain curiosity became popular again with the rise of new science throughout the XVIIth century, as can be seen in the works of Restoration satirical writers, who targeted the Royal Society from when it came into being. Samuel Butler is a case in point: although his work is little known, vain curiosity is a recurrent theme of his works, whatever the genre, be it in his mock-epic, in his philosophical essays, in his character book or in his philosophical poetry. An overall view shows how the old stereotypes, still applicable to philosophers, encyclopaedic pedants or collectors, are transferred to the figure of the experimental philosopher (‘Virtuoso’). Besides the moral or political grievances, Butler’s scepticism was first and foremost aimed at the methods and epistemological ambition of the ‘novatores’, and being well-informed, Butler profusely applied satiric parody to early-modern science.

Lady Mary Wroth’s The Countess of Montgomery’s Urania (1621) represents curiosity in various forms. First, the characters manifest a curiosity which appears as a desire for knowledge that can never be fully satisfied. Curiosities also appear in the form of elaborate monuments which Wroth takes pains to describe. It is actually the characters’ curiosity which leads them to discover the monumental curiosities they so admire. Curiosity seems to be valued in the romance via these edifices which display architectural sophistication and a definite taste for artistry. However, these monuments are soon revealed to be enchantments in which the characters are trapped against their will and must suffer hallucinations and other psychological tortures. The protagonists’ imprisonment and torments can be seen as a form of punishment, as if their curiosity had to be chastised or even expiated through the violent melancholy they feel once inside. Melancholy thus manifests a moral condemnation of curiosity, which is associated with vanity in the Christian tradition. The characters wonder at beautiful architectural curiosities which work as temptations likely to lead them towards sin, through the nefarious ambition and « lust for the eyes » denounced by Augustine in his Confessions. The characters, however, always manage to free themselves from the enchantments. Is curiosity ultimately rehabilitated in the romance ? On the one hand, Urania adopts the moralist vision of curiosity which derives from medieval philosophy, but on the other hand, it also reveals a certain fascination with curiosity in the aesthetic sense, which anticipates the gradual rehabilitation of the notion in the second half of the seventeenth century.

In the XVIIth century, relics and bloody corporeal forms of devotion came under suspicion as Protestants criticised the ‘insane curiosity’ of papists. Visible and extraordinary forms of devotion ran the risk of being treated as vain superstitions or with libertine indifference. Yet new editions and translations of the Imitation of Christ were issued to encourage the readers’ contempt for the material and intellectual world. Drawing from texts belonging to a highly rigorous spiritual milieu – the Life of Agnès de Langeac and René de Voyer d’Argenson’s writings – this article will show how the authors took the effects of curiosity into account by avoiding the dissolving power of the curious gaze thanks to the dissociation between the self, the world and the public.

In the Renaissance era, curiosity about anatomy promoted a new visiblity of the body whose insides were now represented. As a visible figure hiding the secrets of life, the body as mirabilia induced libido sciendi : one opened the body to see and to know. Hence the importance of engravings, which aimed to give an image of what had never been seen, lifting the veil, thanks to a rhetoric of evidentia which emphasized the gesture of showing. But this scientific curiosity could not cancel out the anxiety caused by the image of the dissected body, which dramatized the materiality of man’s mortal frame, revealing its nothingness and turning the anatomy lesson into an emblem of human vanity. In the texts, faceless cutaway figures and melancholy skeletons suggest the return to nothingness. It is as if anatomical illustrations confronted all scientific endeavours with their own vanity through shock and fascination ; turning the image of the body into an efficient epistemological tool seemed doomed to fail. The presence of both curiosity and vanity is what explains the “uncanny” the engravings reveal, as well as the fact that they cannot be neutral. In contrast, Christian imagery successfully substituted vain curiosity for “pious curiosity” in the exhibition of Christ’s open body. In Paleotti’s Esplicatione del sacro lenzuolo (1598), the shroud of Turin is presented as anti-anatomy because curiosity here implies deconstruction of the body and contemplation of its absence, revealing that the ideal image of the body is a body without a body, a representation that avoids imitation and therefore also the vanity of the image.

In his preliminary epistle to his Théâtre du Monde (1552), the moralist Pierre Boaistuau elaborately praises the indomitable desire of knowledge, the better to oppose a classical command of ‘measure’ to the lack of it in baroque style. He relies on verbal restraint to reassert, by contrast, conservative views of the cosmos as a bounded world around a fixed Earth promised to the final catastrophe. The only knowledge worth having after the Fall is the awareness of one’s frail self, which anticipates Chassignet’s anti-humanist Mespris de la vie (1594) or Sir John Davies’s scorn of all human knowledge in his Nosce Teipsum (c. 1590). Giordano Bruno on the contrary chooses a poetics of exuberance to undermine received ideas, and contradicts this militant preaching of ‘vanity’ by his own militant ‘curiosity’, as befits a new Icarus moving in an infinite universe endlessly on the move, in a cosmos structured like language. Prolixity allows the freeing of language that in turn frees the mind, although the restrained form of a mannerist sonnet can still express the ever moving oxymoronic reality of the world. To the colonialist enslaving discovery of the ‘New World’, Bruno opposes the quest of a phenomenology of the infinite, resting on the very limitation of the senses, the better to assert a limitless plurality of worlds. Such poetics of intellectual heroism paradoxically characterises Bruno as the first philosopher of the Enlightenment, but leads him to be burnt at the stake in February 1600.

This article focuses on the mythological figures of Tantalus and Medusa, who represent two forms of curiosity in which transgression and punishment go hand in hand. Because he has boasted of inside knowledge concerning the gods’ secrets, Tantalus is sentenced to remain hungry in front of dangling yet inaccessible fruits, thirsty while half-immersed in water yet unable to drink. As for Medusa, she turns into stone those who dare look her in the eye. Both were punished for their vanity, and both are linked with devouring, which is why Spenser uses them as allegories of devouring curiosity in The Faerie Queene (1590). Tantalus and Medusa embody a question that is central in the poem: how can one possess anything? Curiosity and vanity thus intertwined resonate with a key concern for Spenser as a Protestant poet, namely the relationship between free will and responsibility. As figures of frustrated consumption, Tantalus and Medusa first appear in different types of emblems belonging to the iconography of curiosity. More specifically, the moral opposition becomes clearer in relation to sexual desire: Tantalus is a miser, whereas Medusa’s rehabilitated desire enhances the legitimacy of wanting to see and to touch, of devouring looks. Considering the role of curiosity in an eschatological context, the opposition between the two allegorical figures is reinforced when vanity is pitted against curiosity.

Following his arrival at Jahangir’s imperial court, Thomas Roe – the first duly accredited English ambassador to India – presented the Emperor with a miniature by Isaac Oliver, a gift deemed worthy of the occasion by Wazir Asaf Khan. As he recalls and writes about the episode, Roe explains that he had taken with him ‘a pickture of a frend of myne that I esteemed very much, and was for Curiositye rare, which I would giue his Maiestie as a present, seeing hee so much affected that art.’ The Mogul Emperor’s ‘Cheefe Paynter’, upon discovering Oliver’s work and hearing Roe’s public paean to the artist’s skills, wagers he can paint as well as the English limner. The quality of the copies accordingly brought to Roe some days later is such that the episode ends with James’s ambassador being offered to ‘choose any of these Coppies to show in England wee are not so unskillfull as you esteeme us.’Although this lesson in ethnocentrism has often been discussed and commented upon by historians, one question still remains partly unanswered: why would the ambassador choose a miniature, of all formats, to (re)present himself and his country? Starting from this highly revealing moment of political performance and negotiation in The Embassy, I would like to enquire into the techniques and significance of limning to try and understand why miniatures would feature both among curiosities and political negotiations between East and West.

Copyright of Terrain is the property of Mission Patrimoine Ethnologiq and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present article seeks to analyze the presence and the symbolical meaning of oriental, and in particular Chinese, porcelain in English interiors in the 17th and 18th centuries. It examines how porcelain, through its dual status as both a natural and artificial artifact, and its exotic association with the Far East, contributed to the development of the rococo in the decorative arts in England and became a metonymy for women and the female material world.

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Copyright of Journal of Small Business & Entrepreneurship is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract: This semantic analysis led by a discourse analysis software (Tropes) proposes a reflection concerning a speech about body art''s practice: suspension. It is an exploratory research presenting an analysis of a text written by a young man practicing the suspension. The purpose being to focus on the speech concerned the act of suspension. [Copyright &y& Elsevier]