En opinión de Francisco Puy, el jurista debe ser una persona que agarre decidido una experiencia jurídica siempre conflictiva, la describa, la valores y ofrezca una solución para limpiarla, pacificando los problemas que presenta de apropiación, transmisión, reparto, violación y reposición de derechos. Una experiencia jurídica se inicia cuando un individuo le dice a otro que una cosa es suya y el otro o los otros asienten o consienten en que es suya. Una experiencia jurídica crece, tornándose problemática, cuando (...) un individuo o dos o todo el grupo rechazan la declaración de uno o varios que dijeron que algo es suyo, que tiene un derecho de uso, de disfrute o de propiedad; un interés legítimo o cualquier otra opción jurídica. El Derecho es la misma cosa justa, lo justo materializado en el caso concreto real y práctico; y no lo justo legal ni lo justo diseñado en grandes teorías. Este enfoque teñido de realismo abre un amplio horizonte filosófico-jurídico que Puy ha recorrido en muchas direcciones, ensayando nuevas soluciones para cuestiones viejas. Catedrático ce Filosofía del Derecho de la Universidad de Santiago de Compostela durante 45 años, Francisco Puy ha dedicado una buena parte de su pensamiento a desarrollar una forma de estudio y comprensión de la experiencia jurídica, la prudencial, diferente de la usualmente utilizada en las universidades públicas. Su camino lo ha conducido por las sendas de la Tópica, la Retórica y la Dialéctica clásicas, que ha actualizado en diálogo con la moderna teoría de la argumentación jurídica. En este libro, los colegas, amigos y discípulos del maestro dialogan con él y entre ellos, transitando un panorama temático tan complejo como sugestivo. (shrink)

1. Introducción a la ciencia del derecho natural.

Guy Rohrbaugh and Allan Hazlett have provided two arguments against the thesis that musical works are types. In short, they assume that, according to our modal talk and intuitions, musical works are modally flexible entities; since types are modally inflexible entities, musical works are not types. I argue that Rohrbaugh’s and Hazlett’s arguments fail and that the type/token theorist can preserve the truth of our modal claims and intuitions even if types are modally inflexible entities. First, I consider two alternatives (...) for the type/token theorist proposed in recent literature about the topic: the created types’ solution and the created abstract objects’ solution. I argue that none of them is attractive for the type/token theorist because they do not preserve the theoretical advantages of type/token theories to explain musical works’ repeatable nature. Then, I focus on the arguments’ common premise that musical works are modally flexible entities. A deeper analysis of musical practice will show that this premise is not true: our modal claims do not imply that musical works could have had different intrinsic but, instead, extrinsic properties. Finally, I show how the nested types theory may offer a satisfactory explanation of this fact and how it captures the truth of our modal talk about musical works. (shrink)

_Winner of the Fabian Dorsch ESA Essay Prize._ Julian Dodd defends the view that, in musical work-performance practice, interpretive authenticity is a more fundamental value than score compliance authenticity. According to him, compliance with a work’s score can be sacrificed in cases where it conflicts with interpretative authenticity. Stephen Davies and Andrew Kania reject this view, arguing that, if a performer intentionally departs from a work’s score, she is not properly instantiating that work and hence not producing an authentic performance (...) of it. I argue that this objection fails. A detailed analysis of work-performance practice reveals, first, that the normative scope of interpretive authenticity encompasses the practice of composing musical versions and that, second, when performers sacrifice score compliance to maximize interpretive authenticity, they are performing the target work by means of performing a version of it. By means of the nested types theory, I then show how performances produced in this way can be properly formed instances, and hence authentic performances, of their target work. (shrink)

The study of conscious experience per se has not kept pace with the dramatic advances in PET, fMRI and other brain-scanning technologies. If anything, the standard approaches to examining the 'view from within' involve little more than cataloguing its readily accessible components. Thus the study of lived subjective experience is still at the level of Aristotelian science, leading to a widespread scepticism over the possibility of a truly scientific study of conscious experience. Drawing on a wide range of approaches -- (...) from phenomenology to meditation -- The View From Within examines the possibility of a disciplined approach to the study of subjective states. The focus is on the practical issues involved. (shrink)

To research teachers’ priorities on what was to be taught and learned during the COVID-19 lockdown, we asked Spanish Primary and Secondary teachers to choose and describe the activity they preferred among those carried out with their students during the pandemic. Our interest was to investigate what really happened in the classrooms, the type of learning favored by the practices, and the agreement between the teacher’s goals and their teaching We obtained 272 activities that we analyzed according to the proposed (...) goals, the types of learning worked, and the kind of teaching promoted. Results showed that most teachers proposed content-centered activities, oriented above all to verbal learning. There were clear differences between the proposed goals, partly student-centered, and what was really taught, essentially content-centered. We obtained two teaching profiles, one reproductive and the other constructive. (shrink)

The Embodied Mind provides a unique, sophisticated treatment of the spontaneous and reflective dimension of human experience.

"El amor en su singularidad erótica es tratado en esta obra desde el auspicio de la poesía y la filosofía, las cuales nos llevan de la mano a los desolados parajes del mundo biológico-psíquico para retener aquello de lo que "no se puede decir nada". Aun así, no es éste un intento de explicar fenomenológicamente el amor, sino una modesta evocación de los momentos y comportamientos humanos en su tránsito hacia el Eros y la experiencia que de ellos se ha (...) obtenido."-- Cubierta trasera. (shrink)

This paper discusses methodological issues of two recent experiments conducted by Christopher Bartel, and Elzė S. Mikalonytė and Vilius Dranseika, respectively, about the repeatability and individuation of musical works. I argue, first, that the reliability of their results about people’s intuitions in our everyday musical practices can be questioned due to the use of descriptions instead of musical stimuli of the works and performances involved in the cases tested. This procedure is prone to place participants in an epistemic situation in (...) which their mental capacities for their everyday judgments are not deployed and makes their judgments more vulnerable to the problem of “filling in”. I provide empirical data of an experiment that implements musical stimuli, obtaining large effect sizes regarding the results obtained by Bartel, Mikalonytė and Dranseika. In addition, I argue that the results of three scenarios of the experiment conducted by Mikalonytė and Dranseika are suspicious of being influenced by presentation effects that favor the contextualist intuition that the composer is a relevant parameter in work-individuation. Formal and superficial aspects of the description of their cases would cause these effects. I supply empirical data of an experiment that neutralizes those effects, obtaining moderate and large effect sizes regarding the results of Mikalonytė and Dranseika. (shrink)

The determination thesis is the idea that art-ontological facts are determined by the folk ontological conception of artworks embedded in our artistic practices. From this thesis, descriptivism in the metaontology of art has been often characterized as the view that the task of art-ontology is to describe that folk conception. Amie Thomasson and Andrew Kania provide two paradigmatic accounts within this path. In this paper, I argue that this descriptivist approach is ungrounded because the determination thesis suffers from presupposition failure. (...) It presupposes that, whenever there is a practice of producing and appreciating artworks, there is also a folk ontological conception about those artworks. This presupposition, an implicit premise in Thomasson's and Kania's accounts, will be revealed as false, paying attention to the way artistic practices have evolved. I will conclude that descriptivism should abandon this approach and embrace metaontological realism if it aims to be a plausible view. (shrink)

Medical stem cell research is currently the cause of much moral controversy. Those who would confer the same moral status to embryos as we do to humans consider that harvesting such embryonic cells entails sacrificing embryos. In this paper, the author analyses critically the arguments given for such a perspective. Finally, a theory of moral status is outlined that coherently and plausibly supports the use of embryonic stem cells in therapeutic research.

Sobre el libro: El presente libro recoge las ponencias presentadas en la reunión anual del Seminario Spinoza que tuvo lugar en la Facultad de Filosofía de la UNED los días 13 y 14 de marzo de 2009, así como la presentación del cuadro de Espinosa pintado por Sorolla procedente de la Donación Simarro y perteneciente al fondo artístico de la Universidad Complutense, que tuvo lugar en El Escorial en el verano de 2008. Los trabajos se articulan en cuatro apartados: la (...) política, la ciencia, la proyección de Espinosa en la Ilustración y la iconografía de Espinosa, y sitúan a Espinosa en su siglo, destacando su carácter anómalo en relación con el resto de autores de su entorno. Espinosa no se adaptó a la crisis, sino que se esforzó por comprenderla sin ceder en sus ideales, lo que permitió que las ilusiones renacentistas se desarrollaran en la ilustración, superando el hiato de la crisis barroca. (shrink)

Œuvre de maturité de François Suarez (1548-1617), Des lois et du Dieu législateur a été publié en latin en 1612. Parmi les dix livres que comprend cet ouvrage, nous avons choisi de présenter pour la première fois les deux premiers en langue française. À partir de l'héritage retravaillé de la philosophie politique antique et médiévale, Suarez élabore une théorie originale de la loi et de la communauté en renouvelant leur rapport à l'éthique et à la jurisprudence. Dans une période marquée (...) notamment par la controverse de Valladolid (1550) et la Contre-Réforme, l'auteur redéfinit le contenu et la finalité des concepts fondamentaux de la théorie politique (l'état de nature, le droit naturel, le droit subjectif, la loi naturelle, le pacte social, la souveraineté, l'État et le droit des gens) en les articulant à une compréhension historique de l'homme conçu comme être libre, raisonnable et fini. Suarez instaure ainsi les conditions d'un basculement du théologico-politique dans la modernité dont les effets se feront sentir, entre autres, chez Grotius et l'École du droit naturel. Les conséquences de ce mouvement seront perceptibles jusqu'au XVIIIe siècle avec Wolf. Des lois et du Dieu législateur permet précisément d'apprécier à sa juste mesure la place privilégiée qu'il convient de redonner à la théorie suarézienne de la loi dans l'histoire de la pensée politique. (shrink)

[1]. Liber V, De varietate legum humanarum et praesertim de odiosis --- [2]. Liber VI, de interpretatione, cessatione et mutatione legis humanae.

Bernard Suits’ groundbreaking work, The Grasshopper: Games, Life, and Utopia, has profoundly shaped the philosophy of sport. Its sequel, Return of the Grasshopper: Games, Leisure, and the Good Life in the Third Millennium, released in October 2022, enriches scholarly understandings of Suits’ views on games, emphasizing the normative aspects of gameplay and its impact on people’s pursuit of the good life. In this book symposium, world-leading Suits scholars analyze the Suitsian conception of gameplay and its relevance to his views on (...) Utopia outlined in the sequel, covering a wide range of topics. Filip Kobiela explores counterfactual situations in Suits’ oeuvre. Christopher Bartel and Gwen Bradford scrutinize the ethical nature and ramifications of Suits’ claim that life is an unconscious game. R. Scott Kretchmar and John S. Russell present thoughtful critiques of Suits’ musing on Utopia. William J. Morgan’s contribution integrates contemporary work studies to illuminate Suits’ utopia. The symposium concludes with the editors, Francisco Javier Lopez Frias and Christopher Yorke, offering their perspectives on Suitsian Utopia, ethics, and metaethics. (shrink)