Cette investigation s’efforce de comprendre quel ressort philosophique amorce la dernière phase de l’incursion de Raymond Lulle dans les Facultés de Paris afin de débattre contre la faction des philosophants censés être dénommés Averroïstes catholiques. Le système de l’Art de Raymond Lulle connaît une dimension polémique prodigieuse, puisqu’elle résonne finalement aux échos retentissants de l’affrontement de Raymond Lulle avec des Averroïstes rencontrés dans les Facultés de Paris, mais qui peuvent être restitués par le biais des traités rédigés entre novembre 1309-septembre 1311 quelques années avant le déclin de son esprit prolifique. Il s’agit de la réfutation des erreurs attribuées par Lulle aux philosophants de Paris qui ne sont dénommés Averroïstes catholiques qu’en décembre 1310 après une quête intrépide de l’épithète des philosophants de Paris par laquelle Lulle apostrophe bien leurs erreurs répertoriées en diverses listes. Le contact de Lulle avec nombre de lettrés des Facultés de Paris suscite souvent la controverse doctrinale sans compromettre toute tentative de dialogue. C’est pourquoi Lulle lègue à l’historiographie du lullisme ou de l’averroïsme une fresque singulière de ce que la philosophie devient dans les Facultés de Paris au début du XIVe siècle, même s’il défend la vraie philosophie de tout dérapage averroïste. Il rénove la réfutation des Averroïstes de Paris, puisqu’elle ne dérive ni des censures ni des autorités de théologie positive, mais des outils dialectiques de son Art de raisons nécessaires. / This investigation seeks to understand what philosophical spring begins the last phase of Ramon Lull’s incursion in the Faculties of Paris to discuss against the faction of the philosophers supposed be called catholic Averroists. The system of the Art of Ramon Lull knows a prodigious polemical dimension, because it resounds finally in the loud echoes of Ramon Lull’s confrontation with the Averroists encountered in the Faculties of Paris, but its could be reestablished by means of treaties drafted between November 1309-September 1311, few years before the decline of his prolific spirit. It is about the refutation of the errors attributed by Lull to the philosophers of Paris that are called catholic Averroists only in December 1310 after an intrepid quest of the epithet of the philosophers of Paris by which Lull apostrophe out well their errors itemized in various lists. The contact of Lull with many scholars of the Faculties of Paris often arouses the doctrinal controversy without compromising any attempt of dialogue. Therefore, Lull bequeathed in the historiography of the Lullism or the Averroism a singular fresco of what the philosophy becomes in the Faculties of Paris at the beginning of the XIVth Century, even if he defends the true philosophy of any averroist skid. He renews the refutation of Averroists of Paris, because it does not derive of either censures or authorities of positive theology, but of the dialectical tools of its Art of necessary reasons.

<p>Drawing from the theoretical foundations of the “critical theory” of the Frankfurt School and the media ethnographic “cultural studies” approach of the british Birmingham School, this study attempts to sketch out a media theoretical overview of the contemporary state of media culture. Using the term convergence culture as the foundation, this study offers a theoretical background to the two contemporary streams that are the significant and distinct tendencies of convergence culture: intermedial convergence, its contemporary state and historical tendencies that can be traced back using the past media theoretical approach of the Frankfurt School, and cultural convergence, its contemporary state and historical tendencies, which lineage in a media theoretical context can be traced back to the british ethographic “cultural studies” field. Using contemporary drama serials to identify and pinpoint these two stream, this study shows how intermedial convergence expresses itself today through media conglomeration in terms of branding, product placement and marketing as the result of the “completed” convergence between screen culture and popular music as the current defining state of commodity culture. Using the contemporary british drama serial Doctor Who I examine the processes of meaning making among members of the television series fan culture on the popular video content page youtube.com as expressions of cultural convergence.</p><p>This study argues how the skills and talents developed in the interaction with popular culture and in a process of interaction between fans and participants (collective intelligence and participatory culture), will have an impact on the institutionalized knowledge “from above” and in a collective process will seep over to other fields of expertise. The study also argues, as a consequence of convergence culture, that in the contemporary state of online practices, social networking and in our interactions with digital media content, a mandatory “presence” has been created where we today are defined more through our online selves and these practices, than the ones that used to define us in our “physical” lives: “The medium is no longer just the message, we are living in a state where there is only messages”.</p>

Drawing from the theoretical foundations of the “critical theory” of the Frankfurt School and the media ethnographic “cultural studies” approach of the british Birmingham School, this study attempts to sketch out a media theoretical overview of the contemporary state of media culture. Using the term convergence culture as the foundation, this study offers a theoretical background to the two contemporary streams that are the significant and distinct tendencies of convergence culture: intermedial convergence, its contemporary state and historical tendencies that can be traced back using the past media theoretical approach of the Frankfurt School, and cultural convergence, its contemporary state and historical tendencies, which lineage in a media theoretical context can be traced back to the british ethographic “cultural studies” field. Using contemporary drama serials to identify and pinpoint these two stream, this study shows how intermedial convergence expresses itself today through media conglomeration in terms of branding, product placement and marketing as the result of the “completed” convergence between screen culture and popular music as the current defining state of commodity culture. Using the contemporary british drama serial Doctor Who I examine the processes of meaning making among members of the television series fan culture on the popular video content page youtube.com as expressions of cultural convergence. This study argues how the skills and talents developed in the interaction with popular culture and in a process of interaction between fans and participants (collective intelligence and participatory culture), will have an impact on the institutionalized knowledge “from above” and in a collective process will seep over to other fields of expertise. The study also argues, as a consequence of convergence culture, that in the contemporary state of online practices, social networking and in our interactions with digital media content, a mandatory “presence” has been created where we today are defined more through our online selves and these practices, than the ones that used to define us in our “physical” lives: “The medium is no longer just the message, we are living in a state where there is only messages”.