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B. Netanyahu, one of the world's foremost medievalists, has made a lifelong project of studying the historical evolution of Marranism and seeking to ascertain the genesis of the Spanish Inquisition. In this seminal work, which opened an ongoing debate on the nature of conversion and belief in late medieval Spain, Netanyahu analyzes evidence on the Marranos contained in the Hebrew sources. For this new edition, the author has updated the book and added an Afterword in which he considers some of the scholarly reactions to the work since the publication of the first edition in 1966. "This book's revolutionary thesis dispels the romanticized heroic image of the Marrano found in Jewish literary and historical annals," says Isaac Barzilay, Professor Emeritus at Columbia University. "Netanyahu's conception of the Marranos is of a people whose majority hardly resisted assimilation to Spanish culture and Christianity. Consequently, he unhesitatingly rejects the Inquisition's claim that it was established for the sole purpose of preserving the integrity of Christianity against the undermining effects of Marranism."

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We all want revival. We talk about it, pray for it, and devise every evangelism strategy imaginable. We read about the Great Awakening and recall the Jesus Movement. And today we stand at the precipice of another sweeping spiritual outbreak that could reach the ends of the earth. But are we ready? Revival Culture is an inspirational, biblical, and empowering manual for the next generation of revivalists. Michael Brodeur and Banning Liebscher have been witnessing a spiritual renewal at Bethel Church in Redding, California, and through Jesus Culture, that goes beyond slogans and high hopes to actually reaching. They have learned that transformation happens when we see the unreached as Jesus sees them and when we make revival a part of our lives rather than an event. This is the full picture of revival culture.

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100 Jewish Brides: Stories from Around the World features stories of Jewish brides from six continents, highlighting diverse customs and rituals related to weddings now and in the past. The stories, written by brides, their relatives, clergy, and other intimates, cover similarities and differences across the Jewish diaspora, from courtship and betrothal to pre-wedding customs, the wedding ceremony, and beyond. With stories from Afghanistan to Zimbabwe, this collection of intimate personal testimonies will surprise and inspire. A Jewish wedding after conversion in Madagascar, a reunion of Holocaust survivors in Sweden, a shipboard romance initiated by a celebrity, these stories from 83 countries describe Jewish wedding traditions, some familiar and others eye-opening, in a multitude of cultures and settings, past and present. 100 Jewish Brides offers intimate glimpses into the worlds of brides and their families based on their own written accounts. It represents opportunities to learn how Jewish lives were and are currently lived around the world from memories of the distant past to recent times.

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Central to the repertoire of Western art music since the 1700s, the symphony has come to be regarded as one of the ultimate compositional challenges.In his series The Symphonic Repertoire, the late A. Peter Brown explored the symphony in Europe from its origins into the 20th century. In Volume V, Brown's former students and colleagues continue his vision by turning to the symphony in the Western Hemisphere. It examines the work of numerous symphonists active from the early 1800s to the present day and the unique challenges they faced in contributing to the European symphonic tradition. The research adds to an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. This much-anticipated fifth volume of The Symphonic Repertoire: The Symphony in the Americas offers a user-friendly, comprehensive history of the symphony genre in the United States and Latin America.

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Now in its 148th edition, The Statesman's Yearbook continues to be the reference work of choice for accurate and reliable information on every country in the world. Covering political, economic, social and cultural aspects, the Yearbook is also available online for subscribing institutions: www.statesmansyearbook.com.

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June Schwarcz (1918-2015) was among the most innovative artists working in the contemporary enamels field. Best known for her electroplated metal sculpture embellished with rich enamel colour, she produced an extensive body of work that, while linked to long-standing vessel-making traditions, defied convention. In a field known for visual opulence, preciousness, and adherence to traditional craft practices, Schwarcz was a renegade. She learned enameling on her own and adopted a highly experimental approach to process, inventing new ways of creating sculptural objects in metal and unorthodox strategies for their embellishment. Believing in the power of opposing principles, she created forms that were at once raw and elemental, elegantly composed, and lushly beautiful. A seminal figure in the American craft field, Schwarcz led enameling workshops across the country and influenced several generations of young and emerging artists. She also played a central role in the craft community of the San Francisco Bay Area, where she lived and worked for more than fifty years. June Schwarcz: Artist in Glass and Metal is the first publication to investigate Schwarcz's work in depth. It explores the rich trajectory of her career along with the sources and influences that helped shape and define her singular vision. It also investigates the themes and subjects that intrigued her as it examines the role she played in advancing enameling in America in the late twentieth century. This lavishly illustrated publication celebrates the extraordinary body of work Schwarcz created over a period of sixty years. AUTHORS: Bernard N. Jazzar and Harold B. 'Hal' Nelson are authorities on the history of enameling in America in the twentieth century. In 2007 they founded the non-profit Enamel Arts Foundation to support and promote the modern and contemporary enamels field. Jazzar is curator for the Lynda and Stewart Resnick Collection in Los Angeles, and, until his retirement in 2017, Nelson was curator of American Decorative Arts at the Huntington Library, Art Collections, and Botanical Gardens in San Marino, California. In 2006 they co-authored Painting with Fire: Masters of Enameling in America, 1930-1980; in 2015 they co-authored Little Dreams in Glass and Metal: Enameling in America, 1920 to the Present; and in 2017 they co-curated June Schwarcz: Invention and Variation for the Renwick Gallery of the Smithsonian American Art Museum. SELLING POINT: . First book to chronicle the life and artwork of June Schwarcz, a pioneer craftsperson in the enamel and decorative arts field 290 colour images

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La Soeur (1645) is one of the liveliest and most successful comedies by Jean Rotrou. It is an ingenious adaptation, long unidentified, of an Italian comedy, La Sorella (c.1584), by the polygraph Giambattista Della Porta; sometimes it remains close to the original text, at other times it is bold in eliminating superfluous material and in imparting a convincingly French flavour to the dialogue. The introduction to this new edition assesses the originality of Rotrou’s adaptation. The notes are devoted above all to linguistic questions and to the many exotic allusions found in the text.

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The Death Ship tells the story of an American sailor, stateless and penniless because he has lost his passport, who is harassed by police and hounded across Europe until he finds an 'illegal' job shoveling coal in the hold of a steamer bound for destruction.The Death Ship is the first of B. Traven's politically charged novels about life among the downtrodden, which have sold more than thirty million copies in thirty-six languages. Next to The Treasure of the Sierra Madre, it is his most celebrated work

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It’s the mother of all cat books. The book that gave new meaning to wacka-wacka and forever redefined it.Cat is the classic that started it all. It gave a voice to catmaniacs around the country and launched an entire genre in publishing and licensing. Everybody went crazy.“Neither cute nor mysterious but instead simply and irreverently, even raucously, very funny.”—Village Voice.

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Don Isaac Abravanel (1437–1508) was a major historical figure during the waning of the Middle Ages. Statesman, diplomat, courtier, and financier, he was, at the same time, a scholar of encyclopedic learning, a philosopher, an exegete, a prolific author, a mystic, and an apocalyptist. In Abravanel, B. Netanyahu suggests, two long lines of tradition met and concluded: that of medieval Jewish statesmen and that of medieval Jewish philosophers. In what is both a biography and an exploration of Abravanel's thought and influence, Netanyahu describes how Abravanel illuminated the grave crisis and profound transformation experienced by the Jewish people after the Spanish expulsion. First published in 1953, Don Isaac Abravanel has been out of print for several years. This new edition includes revisions in the text, notes, and bibliography.

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Give your toddler or preschooler hours of fun as they color and learn their ABCs and numbers along the way!The Born to Be Wild coloring book includes 62 colorable pages and teaches young children fundamental learning concepts like letters, numbers, counting, and animals. Give it to your child and let them enjoy coloring on their own, or use the book with them as you help them identify the animals on each page and learn to count and recite their numbers and ABCs. Letters: Coloring pages to practice ABCs Numbers: Color 1-10 and practice counting with pictures of nature items like the sun, palm trees, ladybugs, and more Animals: 26 cute coloring pages featuring animals like a dolphin, monkey, rabbit, turtle, and zebra! Perforated Pages: One-sided coloring pages that are easily removable so you can display on the fridge afterward! Big, Simple Pictures: Perfect for little hands!Each adorable illustration featured in this toddler coloring book was created by bestselling artist Brita Lynn Thompson, aka @zenspiredesigns!

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Accompany woodsman Ben Law as he celebrates the amazing diversity of craft products made from materials sourced directly from the woods. Including brooms, rakes, pegs, spoons, chairs, baskets, fencing, yurts and even a caravan, the items are hewn from freshly cut green wood, shaped by hand and infused with a simple, rustic beauty. Detailed instructions and advice are given for each craft, along with essential knowledge about tools and devices. With fascinating information on the history, language and traditions of the crafts, coppice management and tree species, this book teaches about all aspects of the low-impact woodland way of life.

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The purpose of this book is to introduce the field of bioinformatics to financial modelling. It focuses on the way information informs price, and constructs a framework to explain information generation and the agglomeration process, enabling the reader to make more effective financial decisions. Based on all aspects of applied finance, this book uses informational analysis to help the reader understand the similarities between biomathematics and financial mathematics.

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Absolutely the most thorough guide to pastel materials and techniques ever assembled in a single volume, this is the book for anyone working with pastels, from beginners to experienced artists looking to develop more professional skills.Defining the pastel medium broadly—color in stick form to be used for drawing and painting simultaneously—the author creates works of sensuous textures and colors, ranging from subtle to intense. He uses traditional soft and hard pastels, as well as oil pastels and oil sticks, showing the effects produced by each in step-by-step demonstrations. Included are sophisticated ways to combine pastels with water, acrylic, alkyd gels, and oil paint for stunning mixed-media results.

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Pyrography, the art of 'drawing with fire' by burning designs onto a medium, is an ancient craft practised worldwide. This book presents 25 original pyrography projects in easy-to-follow step-by-step style that are suitable for the absolute beginner to master. The readers will love the clear and simple format which takes away the mystery behind achieving great results. The 25 projects include: door plaques, coasters, key fobs, letter opener, coat hook hanger, jotter board, picture frame, letter holder, trinket box, bread board and many more...This book includes detailed information on tools, equipment and materials. It is suitable for beginner level, with clear instructions and illustrations. All techniques are fully explained and illustrated in full colour throughout.

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Paul of Venice joined the Austin Friars at an early age and was sent by them from Padua to study at Oxford in 1390. When he returned, full of ideas and laden with books, he began his prodigious writing career with several books on logic, including the Logica Magna, which runs to some half a million words. The current volume contains the final treatise, on insolubles—that is, logical paradoxes. After surveying fifteen previous solutions, Paul develops his own, based on the idea that such propositions falsify themselves. Besides a critical edition of the Latin text, the volume also contains an English translation, a detailed commentary, excerpts from two other logical works of Paul’s, and a substantial introduction. The introduction describes the fourteenth-century background to Paul’s treatise; it also gives a detailed rebuttal of a recent claim that the Logica Magna is not by Paul because its content clashes with genuine works of his. All in all, the volume greatly enhances our understanding of the development of logic, in particular of the semantics of propositions, during a crucial century in its history.

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When gazing into the vast expanse of 'the universe', humankind experiences the universal desire to fathom the mystery of its creation. We utilize our unique ability to express ourselves through artistic means to make this mystery tangible, transmuting the secrets of the cosmos into stunning objects and ingenious symbols. Through a deep engagement with recent iconological methods the author travels up and down a methodological Jacob's ladder, between the artist's gazes from the earth to the sky. The reader is treated to studies on a wide variety of objects and mediums, ranging from the embroidery of Girone, the Hereford mappa mundi to the genesis cycle in the Saint Mark's Basilica in Venice. The author reconsiders the iconic gaze of van Eyck's lamb and enters Danaë's uncanny, voyeuristic space in the painting by Jan Gossaert. Meanwhile, she allows other thinkers to explore these questions alongside her. She turns to Erwin Panofsky, who writes about his fascination with Galileo Galilei's telescope, and finally Lars von Trier and his movie Melancholia gets to call it Schluss. All the artworks in this captivating book contribute to unravel the largest mystery that surrounds us: the cosmos. The image blooms into the countenance of that majestic, astonishing black pupil above us. Or as Aby Warburg once wrote: "Contemplation of the sky is the grace and the curse of humanity."

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Les livres de Samuel (1 S 1 – 1 R 2)se présentent comme un récit à prétention historiographique. Ils relatent le siècle d’histoire qui va de la naissance de Samuel à la mort de David. Pour raconter cette longue période dans la durée relativement brève du récit, le narrateur ne cesse d’opérer des choix temporels d’ordre divers. Le présent ouvrage s’intéresse à la construction du temps du récit. Il s’agit de voir comment cette construction vise non seulement à rendre compte du cours de l’histoire mais surtout à le qualifier. En effet, l’ensemble des choix temporels semble conduit par un souci mimétique mais il constitue surtout un propos implicite sur la signification des événements rapportés. Les formes et les modes de l’articulation entre le temps du récit et le temps de l’histoire se révèlent donc être un lieu privilégié pour appréhender la visée du projet historiographique de 1 S 1 – 1 R 2. Les composantes les plus significatives de cette articulation sont les indications calendaires qui balisent la narration, la prééminence donnée à l’unité du jour, l’organisation de séquences de jours, la conjugaison des ressources temporelles propres aux trois genres littéraires présents en 1 S 1 – 1 R 2: le récit, l’oracle prophétique et le poème lyrique. Chacun de ces éléments fait l’objet d’une étude systématique. Ils sont ensuite envisagés ensemble, dans leur contribution commune à la mise en valeur de ce qu’on pourrait appeler «le temps qui compte» dans ce siècle d’histoire. La tapisserie de Gleb, qui illustre la couverture, représenteles quatre lettres hébraïques du nom divin hwhy YHWH. Elles sont disposées detelle sorte qu’on peut y voir également une figuration humaine. Cette œuvreentre en résonance avec la recherche menée dans le présent ouvrage. Dansl’épaisseur du «tissu» narratif, dans sa texture où se croisent comme autant defils des voix aux temporalités distinctes, les modalités de l’articulationserrée entre l’action divine et celle des humains sont finement explorées. Ellesinvitent le lecteur à un examen attentif. Qui voit-il à l’œuvre dansl’histoire?

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«Fatigues et peine, veilles souvent; faim et soif, jeûne souvent; froid et dénuement; sans compter tout le reste, ma préoccupation quotidienne, le souci de toutes les Églises» (2 Co 11,27-28). L’apôtre Paul a montré avec quelle obstination il convenait de poursuivre le bien de l’Église – de toutes les Églises, qui font vibrer par leur diversité la gloire du Dieu unique, à l’instar des variantes de la cathédrale de Rouen où Monet saisit l’infinie variété des couleurs que distille sur les pierres chatoyantes le soleil de Normandie. «Le souci de toutes les Églises» constitue le fil rouge des contributions présentées dans ce volume d’hommage offert au professeur Joseph Famerée à l’occasion de son éméritat. Une première partie traite de l’œcuménisme sous l’angle d’un regard rétrospectif et d’une vision prospective. La communion espérée entre les Églises ne relève pas d’une volonté d’uniformité entre les cultures et les traditions qui ont su accueillir l’Évangile. Elle se recommande du témoignage dû au Dieu Un – le Dieu d’amour, impatient de rassembler dans l’unité ses enfants dispersés. Cheminant dans l’opacité des mémoires, par-delà la pesanteur des institutions, le désir de faire prévaloir la communion sur l’acrimonie des divisions ne peut se dispenser d’un long travail d’histoire et de théologie. Une deuxième partie aborde les questions ecclésiologiques les plus actuelles: la requête de synodalité et de conciliarité, qui se fait jour tant dans l’Église catholique que dans l’Église orthodoxe; la réforme du ministère pétrinien, que recommande le bien suprême de la communion; la conception du ministère dans l’Église, où «il n’y a plus ni Juif, ni Grec; il n’y a plus ni esclave, ni homme libre; il n’y a plus l’homme et la femme; car tous, vous n’êtes qu’un en Jésus-Christ» (Ga 3,28). La troisième partie envisage la trajectoire et l’influence d’un théologien de l’unité qui a puissamment contribué au ralliement tardif de l’Église catholique à la tâche œcuménique: Yves Congar (1904-1995) – il convenait, en effet, d’évoquer l’œuvre majeure du dominicain français, auteur de prédilection du professeur Joseph Famerée. En guise d’ouverture, après une réflexion sur le poids de la culture dans le développement des sociétés africaines, l’ultime contribution invite la théologie à tourner son regard vers les vastes cieux que l’astronomie offre à sa contemplation émerveillée, non sans lui assigner de nouvelles tâches.

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The word enthusiasm is derived from the Greek enthousiasmos and means being captivated by a god. Even today, we use `enthusiasm’ to describe a special energy that can suddenly overwhelm us: an emotional affect that holds the glow for the subject within oneself, and which radiates inspiration out to an audience. Yet, through the ages, the concept has not always carried with it the positive connotations it had in ancient Greece. Despite a few flickers on the cultural historical time line, enthusiasm has mostly been marginalised in modern Western philosophy: as an excessive urge or as a harmful exaggeration of emotions. In this essay, I work towards a rehabilitation of inspiration within intellectual thought. Is enthousiasmos the subject of any iconographic traditions? Is enthousiasmos also an aesthetic concept? And can enthousiasmos be part of an epistemology?

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Le Psautier constitue un recueil de textes d’époques diverses, aux préoccupations variées. On peut distinguer des psaumes ayant eu une existence indépendante, avant la constitution du Psautier actuel, et des psaumes littéraires liés à la rédaction du Psautier en tant que tel. Une étape intermédiaire a été la constitution de recueils, avec les psautiers davidiques, le psautier coréite et le psautier asaphite. La constitution des psautiers davidiques est liée à la structuration d’ensemble du Psautier autour de l’espérance messianique davidique. Ils ont permis d’intégrer des psaumes aux perspectives très différentes dans le cadre de la question messianique, par le moyen des «titres» utilisant souvent des rapprochements verbaux avec les livres de Samuel. La rédaction finale du Psautier doit se comprendre en fonction d’un système d’inclusion. La partie centrale, fondamentale pour la question messianique, même si le terme « Messie » n’y est jamais utilisé, est constituée par le psautier élohiste Ps 42-83, construction artificielle mais hautement symbolique avec le rôle du nombre 42. Après le constat de la disparition du Messie davidique (Ps 89) et sa substitution par le messie sacerdotal (Ps 84,10), l’alliance avec les patriarches prend la place de celle avec David (Ps 105). David est finalement réintégré en tant que fondateur du culte, en relation avec le transfert de l’arche à Jérusalem. Une ultime rédaction de sagesse n’a pas modifié la structuration du Psautier. The Psalter constitutes a collection of texts from different periods and with various preoccupations. We can distinguish some psalms that have an independent origin, before the construction of our current Psalter, and some literary psalms linked with the constitution of the Psalter. An intermediary stage was the constitution of some collections, with the Davidic psalters, the Coreitic psalter, and the Asaphite psalter. The constitution of the Davidic psalters has a link with the overall structuring of the Psalter around the hope placed in the Davidic Messiah. This aspect has enabled psalms with very different perspectives to be incorporated within the framework of the messianic issue, by the use of “titles” which generally infer some verbal connections with the Books of Samuel. The final drafting of the Psalter must be understood on the basis of an inclusion system. The central part of the Psalter, which is fundamental to the messianic issue, even if the word “Messiah” is never used, is made up of the Elohistic psalter, Ps 42-83, an artificial yet highly symbolic construction with the use of the number 42. After the disappearance of the Davidic Messiah (Ps 89) and his replacement by the priestly Messiah (Ps 84,10), the alliance with the patriarchs take the place of the alliance with David (Ps 105). In the end, David is reinstated as founder of the temple cult, in relation to the transfer of the arch to Jerusalem. One final wise piece of editing has not modified the structuring of the Psalter.

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A stain is the evidence of something that was. It’s a trace. A stain may be something quite ordinary: the ink stain on my index finger; the mark of your fingers on this book. A stain may also be embarrassing: lipstick on a cheek; sweat rings under the arms; a bloody discharge. A stain may be forensically incriminating. A stain may be kept for sentimental reasons. Moreover, every stain has its own particular texture. Texture denotes the consistency of a surface and the sensory, often tactile imprint that is left on it. The stain may be absorbed in the thing that supports it; then again, it may stay on the surface, something separate. Every stain is unique. In this essay the author deals with seven factors that make the stain into a powerful model for rethinking the visual: the stain as prototype and prefiguration, the stain as relic, the stain of Veronica, the stain as a psycho-energetic symptom, the stain as pars pro toto for the womb, the stain and le désir mimétique and finally the stain as an image paradigm of the residue.

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This essay, a meditation on the butterfly and its resonance in art history, is organized in three parts. I begin with Aby Warburg's fascination with moths and butterflies as documented by (1) his letters to André Jolles (e.g. the letter from 1900 known as 'But such high-flown movements are not for me'), (2) the Kreuzlingen pathological report and archives by Ludwig Binswanger (1881-1966) preserved in Tübingen, and (3) the Ninfa fiorentina file in the Warburg Institute. As Seelentierchen - soul animals, psychè - butterflies are archetypically connected to deep cultural affects regarding the soul, resurrection and immortality. Part 2 of the paper considers the butterfly as paradigm for the visual medium and the oculocentric paradigms in art history. Indeed, the butterfly has a specific visual (and sensory) impact on humankind with its flashy, quick, vibrant and hypnotic wings, its medusian eyes and its capability to camouflage itself (cf. 'Sciences diagonales' by Roger Caillois (1913-1978)). Hypnosis, Medusa and camouflage are three important paradigms with which to consider the essence of the image as a dis/appearing, enchanting, and deceiving medium. In Part 3, the three paradigms become the basis for new reflections about art history (and the history of art history) as a study of the butterfly, in short, as 'lepidopterology'.

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Le Timée est le dialogue platonicien le plus cité, lu et commenté. « Bible » des médio-platoniciens, il a fait l'objet de multiples exégèses dans le monde grec, de Crantor à Proclus. C'est d'abord que le Timée, qui traite de la « création » du monde et de celle de l'homme, se présente comme un mythe. C'est ensuite qu'en proposant un modèle d'univers physique, il offre une véritable encyclopédie scientifique dont la brièveté même ajoutait à la difficulté. Cette dualité explique qu'on en trouve de très nombreuses traces dans le monde latin, notamment médiéval, où traductions et commentaires servent, entre autres, à l'exégèse biblique. À la Renaissance, retrouvant l'héritage hellène, les humanistes disposent des traditions grecque et latine du « dialogue ». C'est précisément ce moment de rencontre des deux traditions que l'on interroge dans ce recueil, à travers l'étude de nombreux champs de la philosophie et de la science.

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Ce livre a pour objet l'etude de deux conjurations (Kuleli en 1859 et Meslek en 1867), fomentees dans la capitale de l'Empire ottoman, Istanbul, et revelees au moment ou les conjures s'appretaient a passer a l'action en vue de detroner le sultan - premieres tentatives de detronement depuis la suppression en 1826 des janissaires, qui etaient auparavant les principaux "defaiseurs" de sultans. Cet ouvrage analyse ce nouveau type de revoltes et de revoltes qui ont envisage de "defaire" le sultan ottoman. Il s'attache a reecrire l'histoire de ces deux conjurations, a examiner leur structure, leur fonctionnement et leurs strategies, tout en eclairant les motivations, les revendications politiques et les profils sociaux des conjures. Il s'interroge sur les specificites de ces deux tentatives dans le contexte des transformations sociales et politiques des annees 1850 et 1860, et contribue ainsi a une meilleure comprehension des changements de l'espace politique ottoman a cette epoque. Quelle etait la place des "sujets" et du sultan dans la structure du pouvoir politique durant les premieres decennies des Tanzimat, alors que les mentalites et les "techniques" de gouvernement de l'administration centrale etaient en train d'etre reformulees et que l'opinion publique devenait un acteur politique de plus en plus influent? Telle est la question fondamentale qui est abordee tout au long ce livre.

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Le Traite du ciel d'Albert de Saxe a exerce une enorme influence sur les conceptions cosmologiques de la fin du Moyen Age et de la Renaissance, notamment sur des penseurs tels que Nicolas de Cues, Nicolas Copernic, Leonard de Vinci et Galilee, qui, tout en les contestant sur certains points, s'en sont inspires. Le nombre de manuscrits et d'editions imprimees consacres a cet ouvrage, specialement en Allemagne, en Italie et dans l'Est de l'Europe, temoigne de cette grande renommee.>br/>Pourtant, ce n'est pas tellement la pensee d'Albert qui se reflete dans ces textes que celle de ses maitres, a savoir Buridan (surtout) et Oresme, dont l'influence est omnipresente. Il faudrait donc parler de l'enorme importance de ces deux grands maitres dans le discours de leur disciple et des repercussions que leurs hypotheses ont eues sur les siecles subsequents. C'est, en definitive, a cela que sert la presente edition critique des Quaestiones in De caelo d'Albert de Saxe: donner un texte definitif qui puisse permettre une evaluation de l'apport de chacun, sans craindre de balayer les idees recues.

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Entre le monse referentiel (reel ou imaginaire) et l'expression a travers une langue, se situe la conceptualisation, enonciative dans le parcours onomasiologique de l'emetteur et interpretative dans celui de recepteur.Le choix des entites amene a categoriser (cf. les classificateurs, les affinites combinatoires...) et il en va de meme des schemes analytiques d'evenements (cf. les diatheses, les aspects...). Quant au JE, il se projette particulierement dans le vaste domaine de la modalisation (cf. modalites, hierarchisations...). Les categorisations, a vocation universelle, se realisent dans les categories de chaque langue de facon originale pour chacune d'elles.La "volonte de dire", floue et indefinie, se coule dans les structures linguistiques en les remodelant constamment, permettant ainsi au locuteur de s'exprimer en un hapax discursif adequat, et a la langue d'evoluer lentement au cours du temps.Des modeles mentaux sont proposes (chronoexperentiel, chronoexistentiel, chronoevenementiel, chronodeietique), comme supports universels des principales categorisations retenues par les langues.

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