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Christian theologians and ostensibly secular sociologists of religion rely on different resources to respond to personal, local, or global problems. The environmental crises we see around the world reflect a strict hierarchy between human beings and the natural world. In both the theological and social scientific arenas of the last few decades, however, we see an 'animal turn' that exposes the hubris of anthropocentrism and creates opportunities for new ways of writing and teaching about the natural environment. Using the Pacific Northwest's 'reverential naturalism' as a touchstone, the authors reflect on the extent to which their respective fields prepare secular scholars and theologians to address the crises all animals – including humans – now face. Using a dialogue format, they explore whether theological and social scientific regimes of truth and knowledge are incommensurable. What might this mean for the region and the two fields out of which they authors emerge? [ABSTRACT FROM AUTHOR]

Bien que le recueil des Soirées de Médan (1880) se présente comme un manifeste du naturalisme, il est à première vue difficile de voir dans quelle mesure les actions des personnages sont déterminées par le contexte de guerre. Il est plus fréquent de les considérer comme transgressives en ce qu’elles heurtent les normes sociales au moment de leur publication. Si les personnages semblent d’abord se réfugier dans des espaces où il leur est possible d’échapper à la guerre, le conflit s’y immisce néanmoins. Leurs actions peuvent ainsi être interprétées comme des gestes attribuables au contexte dans lequel ils évoluent plutôt que comme des actes transgressifs. En cela, le recueil respecte la logique déterministe de l’esthétique naturaliste et présente des personnages qui agissent en fonction du milieu et des circonstances dans lesquels ils se trouvent, selon les lois naturelles présentées dans la théorie zolienne.

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By defining consciousness as nothingness or simply as “nothing,” Sartre plays with several meanings of these terms: negativity and negation, distance, indetermination, irreducibility. The nothingness of consciousness takes on an ontological meaning: it is a “tearing away” from being-in-itself, a transcendence understood as the capacity to transcend what is, while retaining an epistemological meaning: it is what cannot be positively determined as “something” or as a property of being. Still, on the epistemological level as well as on the ontological level, it is indeed from “something,” from physical and social being, that the nothingness of consciousness draws its existence and its capacities. In my article, I examine different meanings that can be given to the “nothing” of consciousness in the light of the thought of Sartre himself, emphasizing the difference between two major meanings of negation: as opposition and as indetermination. Then I confront Sartre’s concept of consciousness with more recent considerations of different inspiration, notably from researchers like Chalmers, Damasio, Gallagher, and Zahavi. My thesis is that the Sartrean concept, semi-transcendental and semi-naturalist, does admit the search for a naturalist explanation of consciousness, but assigns its limit precisely through the concept of nothingness. [ABSTRACT FROM AUTHOR]

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In this article, the author examines some arguments for and against formal moral education. Regarding the arguments in favour of formal moral education, this examination focuses on two arguments: the 'sociological argument' -or the argument about the social benefits of moral education-, and the 'naturalistic argument'. As for the arguments against formal moral education, the analysis also focuses on two arguments: the 'argument about indoctrination', as well as the 'argument about academic priorities'. These two arguments against formal moral education will finally be rebutted to conclude that today formal moral education has more powerful reasons to be defended and promoted than to be relegated or rejected. [ABSTRACT FROM AUTHOR]

It would be difficult to imagine a Realistic or Naturalistic novel without the character of a servant, the most frequently a female one. Actually, in the 19th century, the servant becomes much more visible and important, raising sometimes into the position of the main character. The Goncourt's Herminie Lacerteux, Zola's The Kill and Maupassants's A Woman's Life depict three servants whose destiny is strictly connected to their mistress' life; they all have a huge influence on what becomes of the three ladies. The paper aims to examine the three models of interaction of servants and their mistresses so as to prove the importance of the servant in the « human document » created by the writers. [ABSTRACT FROM AUTHOR]

This article argues for renewed attention to Émile Zola's notion of the 'Écran transparent' in light of calls to read the novelist's Rougon-Macquart cycle as proto-modernist. It claims that in his 8 August 1864 letter to Antony Valabrègue, Zola lays the theoretical foundations for a departure from verisimilitude, advancing instead a mode of perception that frequently generates deformed objects – objects engendered by a 'surréalisme particulier' (Gilles Deleuze). The article re-reads the 'prospective qualities' (Susan Harrow) of Germinal, Au Bonheur des Dames and La Curée to explicate the deformative logics of the Zola's Screen. [ABSTRACT FROM AUTHOR]

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L'anthropologie sociale et l'archéologie ont longtemps été vues comme des disciplines-sœurs. Or, lorsque l'anthropologie sociale s'est emparée de la question des ontologies dès les années 1990, l'archéologie ne lui a pas emboîté le pas de manière aussi flagrante. Pour l'étude des arts préhistoriques, les approches ontologiques restent aujourd'hui peu nombreuses. En archéologie, ces tentatives font face à des défis méthodologiques majeurs qui tiennent, au point de vue de l'archéologue, à la matérialité des vestiges archéologiques, à la difficulté ou l'impossibilité de faire appel à l'ethnographie, à la polysémie des images, à la prégnance de la tradition de la représentation, et enfin au fait que les anthropologues peinent à apporter un cadre épistémologique unifié. Cette contribution propose de faire le point sur les approches ontologiques des arts préhistoriques, en proposant une petite histoire critique, suivie d'une étude des voies empruntées face « au challenge de l'altérité » (Moro Abadía et Porr, 2021). Social anthropology and archeology have long been seen as sister disciplines. However, when social anthropology has taken up the question of ontologies as early as the 1990s, archeology did not follow in such a blatant manner. For the study of prehistoric arts, ontological approaches remain few. In archaeology, such attempts face major methodological challenges, which relate to the archaeologist's point of view, the materiality of archaeological remains, the difficulty or impossibility of using ethnography, the polysemy of images, the pervasiveness of the tradition of representation, and finally to the fact that anthropologists have not yet provided a unified epistemological framework. This contribution proposes to portray and analyze past and current ontological approaches to prehistoric arts, by offering a short critical history, followed by a study of the paths taken to meet "the challenge of alterity" (Moro Abadía and Porr, 2021). [ABSTRACT FROM AUTHOR]

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Artikkelen er en undersøkelse av hvordan Edvard Munch arbeidet med kristne motiver og ikonografi. Er de mange kristne referansene i Munchs kunst uttrykk for et ønske om å sakralisere det moderne sjeleliv i en tid preget av sekularisering og ateisme? Eller er de snarere uttrykk for en praksis påvirket av naturalismen, der de anskueliggjør den kristne arven som forkvaklende kraft i det moderne sjeleliv?

This article would like to show the rhetorical ambivalence of Émile Zola's Lourdes, in which the naturalist method (seeing, showing) is the one used by the young Sophie Couteau to convince her audience of the miracle of which she is the lucky one. It is precisely the paradox of this novel to denounce the religious imposture and the commercialization of the miracle, while underlining the similarity of the methods employed by the religious discourse, the medical discourse and by the naturalist novel. [ABSTRACT FROM AUTHOR]

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The naturalism/anti-naturalism problematic has remained a stubbornly persistent feature of Euro-American debates about the nature and range of (social) science. Politics and International Relations (PIR) research has not been immune to the resulting "paradigm wars"—in fact, the problematic has been central to the question of methodology in these fields. As a result of this, and as a result of the bifurcating logic that inheres in the problematic as it is most commonly conceived, claims about (global) politics have, at best, varied, and, at worst, been wildly contradictory. This has not, of course, stopped naturalists and anti-naturalists from claiming the epistemic authority (and associated perks/privileges) that each believes they are due, and the ensuing war of position has proven to be so intractable that it has inspired in some a desire for the two parties to just go their separate ways, citing irreconcilable differences. It is worth asking, therefore, whether it is time to officially "untie the knot," reach some mutually acceptable intellectual/institutional settlement, and resign ourselves to a solitary existence? Some PIR research seems to suggest that this is becoming the preferred outcome. Contrary to such assessments, this article argues that the critical naturalist position which critical realist philosophy develops/defends provides a promising alternative to the "either/or" logic that characterizes much of the existing debate. Indeed, it claims that this critical naturalism provides an answer to the question of methodology that is more inclusive/encompassing ("neither/both/and" rather than "either/or") and scientifically plausible than the two positions that are typically held—incorrectly—to exhaust our options within the problematic. La problemática del naturalismo/antinaturalismo siguió siendo un rasgo obstinadamente persistente de los debates euroamericanos sobre la naturaleza y el alcance de la ciencia (social). La investigación en Política y Relaciones Internacionales (Politics and International Relations, PIR) no ha sido inmune a las subsiguientes «guerras de paradigmas»; de hecho, la problemática ha sido el foco de la cuestión de la metodología en estos campos. Como resultado de esto y de la lógica dividida que hereda la problemática tal como se concibe más comúnmente, las reclamaciones sobre la política (global) han sido, en el mejor de los casos, variadas y, en el peor, salvajemente contradictorias. Sin dudas, esto no ha impedido que los naturalistas y antinaturalistas reclamen la autoridad epistémica (y las ventajas y los privilegios relacionados) que cada uno cree que les corresponde, y la guerra posterior de posturas ha demostrado ser tan intratable que ha inspirado en algunos el deseo de que las dos partes tomen caminos separados al mencionar diferencias irreconciliables. Por lo tanto, ¿vale la pena preguntarse si es hora de «desatar el nudo» de manera formal, llegar a algún acuerdo intelectual o institucional mutuamente aceptable y resignarnos a una existencia solitaria? Algunas investigaciones en PIR parecen sugerir que esto se está convirtiendo en el resultado preferido. Contrario a dichas valoraciones, este artículo sostiene que la postura naturalista crítica que desarrolla o defiende la filosofía realista crítica brinda una alternativa prometedora a la lógica del «uno/el otro» que caracteriza gran parte del debate existente. De hecho, afirma que este naturalismo crítico proporciona una respuesta a la cuestión de la metodología que es más inclusiva o integral («ninguno/ambos/y» en lugar de «uno/el otro») y científicamente viable que las dos posturas que se suelen mantener de manera incorrecta para agotar nuestras opciones dentro de la problemática. La problématique Naturalisme/anti-naturalisme est restée une caractéristique obstinément persistante des débats euro-américains sur la nature et le champ des sciences (sociales). Les recherches en politique et en relations internationales n'ont pas échappé aux « conflits de paradigme » qui en résultent ; en réalité, cette problématique est demeurée centrale à la question de méthodologie dans ces domaines. De ce fait, et du fait de la bifurcation de la logique inhérente à la problématique telle qu'elle est le plus communément pensée, les déclarations concernant la politique (mondiale) dans ce domaine ont, au mieux, été diverses et, au pire, très contradictoires. Cela n'a bien évidemment pas empêché les naturalistes et les anti-naturistes de revendiquer l'autorité épistémique (et les avantages/privilèges associés) qui, selon eux, leur est due, et le conflit de positions qui s'en est suivi s'est avéré si insoluble qu'il a même inspiré à certains le désir de tout simplement voir les deux parties suivre leurs propres chemins totalement distincts, en invoquant des différences inconciliables. Il convient donc de se demander s'il est temps de « trancher officiellement le nœud gordien », de parvenir à un règlement intellectuel/institutionnel mutuellement acceptable du conflit et de se résigner à une existence solitaire. Certaines recherches en politique et relations internationales semblent suggérer que cela deviendrait l'issue privilégiée. Contrairement à de telles estimations, cet article soutient que la position des naturalistes critiques, qui est développée/défendue par la philosophie du réalisme critique, offre une alternative prometteuse à la logique du « soit, soit » qui caractérise la plupart des débats actuels. En effet, il affirme que ce naturalisme critique offre une réponse à la question de méthodologie qui est plus inclusive/englobante (« ni, ni/les deux/et » plutôt que « soit, soit ») et scientifiquement plausible que les deux positions qui sont généralement tenues (à tort) pour évacuer nos options dans cette problématique. [ABSTRACT FROM AUTHOR]

This article examines The Wire (HBO, 2002–8) and The Shield (FX, 2002–8) and the extent to which they employ particular attributes of new television in order to engage with notions of determined behaviour familiar from literary naturalism (and, through them, important contemporary political ideologies). The Wire and The Shield are part of a growing body of neo-naturalist works in contemporary American culture. Like Dexter and Breaking Bad, they portray the actions of their protagonists as heavily determined by outside forces. But while The Shield's deterministic naturalism tends to lend tacit support for more authoritarian social control, The Wire's use of similar architecture is a means to advocate for urgent institutional reform. [ABSTRACT FROM AUTHOR]

This article presents in a descriptive and narrative way the fate of Denise Baudu, the heroine of the novel Au Bonheur des Dames by Émile Zola. This story breathes new life into literature where women, even if they occupy the central place, are still confined to known classic roles. With Denise, the author creates the prototype of the modern, independent, strong, creative woman who is able to build a successful career and rise above her class in a society dominated by men, thanks to her merits. We first present the era - the birth and development of high commerce, - then the micro-society in which the character evolves, the Bonheur des Dames novelty store and the shops in the neighborhood and finally, the rise of Denise, her career by stages, all this accompanied by a few considerations concerning the art of the naturalist writer. [ABSTRACT FROM AUTHOR]

Karl Henckells Berliner Abendbild and Arno Holz’ Nicht „antiker Form sich nähernd“ belong to those poems of Naturalism which can claim a permanent place in the changing history of poetry. Berliner Abendbild exemplarily proves the discovery of the city as a literary topic but also as a new space of experience in German Naturalism. But what is innovative in this text is especially the way in which Henckell collages scraps of conversation and thereby delivers something like a micro-sonogram of the city. On the other hand Holz transposes in Nicht “antiker Form sich nähernd” the coexistence of heterogeneous statements, corresponding to the journalistic mode of presentation, to poetry and thereby finds not only a form to express the contradictions of the modern world but also proves a montage-like technique of representation which anticipates the future of literature. urban poetry, critique of ideology, poetic collage, naturalism, reflection on language

Hans Ulrich Gumbrecht har argumentert for at då ein ny, refleksiv observatørrolle vart etablert i løpet av det 19. hundreåret, førte det til ei stor interesse for spørsmålet om det var muleg å sameina observasjonen av verda gjennom sansane (persepsjonen) med den tilgangen til verda vi har gjennom bruk av omgrep (erfaringa). Essayet argumenterer for at denne interessa var sentral i den norske kunstdebatten mot slutten av det 19. hundreåret og undersøkjer korleis kritikarar, kunsthistorikarar og kunstnarar tenkte kring forholdet mellom persepsjon og erfaring i samband med dei kunstnariske hovudstraumane i tida.

Prenant appui sur le fait que la condition de la femme est un sujet commun à Emile Zola et à Miguel de Carrión et que le romancier naturaliste crée ses personnages en tenant compte des lois du déterminisme physiologique et social, cet article vise une analyse des personnages féminins, en essayant d’évaluer dans quelle mesure leurs caractères et leurs actions sont influencés par le milieu (les normes sociales et l'éducation) ainsi que par des phénomènes biologiques comme l’hérédité. Cette analyse de l’écriture du féminin devrait ainsi éclairer un chapitre de l’histoire de l’influence du naturalisme français sur la littérature latino-américaine.

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Copyright of Cahiers Victoriens & Edouardiens is the property of Presses Universitaires de la Mediterranee 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.)

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« Brutalisation » est un néologisme proposé par l’historien George L. Mosse pour désigner la culture de guerre qui s’est maintenue après 1918, en temps de paix, dans les sociétés européennes. Ce mot est ici appliqué à la Première guerre mondiale, laquelle peut être appelée la première guerre totale. Cet article se propose d’examiner la question de savoir si, à la brutalisation de la guerre a correspondu, dans Le Feu, d’Henri Barbusse (1916), un livre qui se présente comme un document, une « brutalisation de l’écriture ». On verra que le parti pris naturaliste dans lequel s’inscrit ce roman non seulement n’interdit pas les excursions du côté de l’imaginaire et du fantastique, mais semble les appeler.

Resumo O pensamento de Carl Gustav Jung é marcado pela complexidade e por um diálogo contínuo entre ciência e filosofia. Seus posicionamentos teóricos, por vezes incompreendidos, levaram-no a constantes embates em defesa do empirismo e dos fundamentos do pensamento científico moderno, muitas vezes através da crítica a pressupostos que ele considerava indemonstráveis. Essa trajetória apresenta, todavia, uma série de dificuldades. Através da noção de naturalismo, este ensaio busca indicar uma via de análise dessa complexidade. Com efeito, podemos discernir duas noções distintas, mas complementares de naturalismo na obra de Jung: um naturalismo metodológico, que o mantém próximo do pensamento científico de sua época, e um naturalismo ontológico, que o alinha ao pensamento romântico e à Naturphilosophie, implicando considerações teóricas que o distanciavam de seus contemporâneos. Coordenar essas duas visões do naturalismo foi certamente um problema para Jung, e é um desafio para a compreensão de seu pensamento.

La peinture de paysage joue un rôle central dans la réception de l’art anglais par les critiques allemands du XIXe siècle. L’époque voit le genre se renouveler différemment selon les pays et leurs traditions. Les nouveaux rapports que les paysagistes anglais entretiennent à la nature et à sa mise en scène picturale provoquent ainsi des réactions contrastées de la part des commentateurs allemands ; nous tenterons ici de les mettre en lumière et de définir plus précisément leur spécificité, notamment en les comparant aux réactions françaises face aux nouveaux courants venus d’outre-Manche.

Despite gaining respect in intellectual circles since the appearance of The Mulatto (1881), Aluísio Azevedo (1857- 1913) only signed a contract with Garnier Bookstore after the publication of The Man (1887). It was thanks to the success of this book that Machado de Assis' publishers, one of the most important at the times, bought the copyright of the author's whole works of fiction and printed its 4th edition. The feat was the result of a strong advertising campaign put in motion by Aluísio Azevedo and his network of friends in the press. Focusing on sales, they relied on the licentious aspect of the work to publicize it. Rio de Janeiro was shocked to read the protagonist's erotic fantasies, described to address the issue of female hysteria. Aluísio Azevedo was attacked by naturalism detractors, who accused him of writing "pornography" disguised as science. In this article, we'll tell the story of The Man as an erotic best-seller. [ABSTRACT FROM AUTHOR]

Carl Gustav Jung's thinking is characterized by complexity and a continuous dialogue between science and philosophy. His theoretical positions, frequently misunderstood, led him to constant efforts in defence of the empiricism and foundations of modern scientific thought, often through criticism towards what he considered as indemonstrable presupposes. This trajectory shows, nonetheless, a series of difficulties. Through the notion of Naturalism, this study aims to indicate an approach to understand the complexity of Jung's thought. Indeed, two different but complementary versions of Naturalism can be distinguished in Jung: a methodological Naturalism that keeps him close to the scientific thought of his day, and an ontological Naturalism, which is aligned with Romanticism and the Naturphilosophie, implying theoretical considerations which distance him from his contemporaries. To harmonize these two types of Naturalism was a problem for Jung, and it is a challenge to understand his thinking. [ABSTRACT FROM AUTHOR]

The article analyzes the female characters in the works of Émile Zola and Miguel de Carrión, in order to evaluate the extent to which they are influenced by the environment (social norms and education) and by biological factors such as heredity. The analysis is based on two premises: first, that the condition of women is a theme shared by the two authors, and, second, that in the construction of their characters, naturalist novelists take into account the laws of physiological and social determinism. The paper also seeks to shed light on a chapter of the history of the influence of French naturalism in Latin American literature. [ABSTRACT FROM AUTHOR]

Michel Houellebecq, l’auteur le plus controversé de la littérature française contemporaine, semble s’astreindre à une seule et unique mission : celle d’être « vrai » à n’importe quel prix. Observateur et peintre de la société actuelle dans tous ses états, l’auteur de Soumission s’inscrit dans une tradition littéraire qui remonte au XIXe siècle, prolongeant ainsi les fictions de Balzac, de Zola et de Huysmans. De ses prédécesseurs Houellebecq hérite d’un certain goût pour la controverse, talent qui fait naturellement la pluie et le beau temps dans la presse. Le rôle que jouent la documentation et la figure du célibataire permet de situer l’écrivain dans le sillage de la tradition réalistico-naturaliste.