My work aims to focus on the intersections between aesthetics, intergenerational values, and climate change while exploring some core questions. How do aesthetic values interact with the construction of social and intergenerational values? Can the aesthetic experience of art have any influence on our attitudes toward the environment? These questions are related to the broader question: is the aesthetic experience of art connected to the aesthetic experience of nature? The thesis underlying this paper is that aesthetic appreciation of nature and (...) art mutually influence each other. To prove this claim, I propose a Deweyan and pluralistic approach to environmental aesthetics that interacts with the fields of neuroaesthetics and intergenerational thinking. The key concept on which my proposal rests is the Deweyan connection between aesthetics and experience. (shrink)

The most complete edition yet published of Wittgenstein’s1929 lecture includes a never-before published first draft andmakes fresh claims for its significance in Wittgenstein’soeuvre. The first available print publication of all known drafts ofWittgenstein’s Lecture on Ethics Includes a previously unrecognized first draft of the lectureand new transcriptions of all drafts Transcriptions preserve the philosopher’s emendationsthus showing the development of the ideas in the lecture Proposes a different draft as the version read by Wittgensteinin his 1929 lecture Includes introductory essays on (...) the origins of the material andon its meaning, content, and importance. (shrink)

Bafomé, a mais duradoura criação do escritor Éliphas Lévi, é um ícone do universo esotérico: é a imagem “satânica” mais conhecida da história. Na tentativa de desvendar a sua rica composição simbólica, uma exegese iconográfica será conduzida por intermédio da psicologia analítica, fundada pelo psiquiatra suíço Carl Gustav Jung. As origens de Bafomé na alquimia, na cabala e no gnosticismo serão perscrutadas e os conceitos Junguianos do inconsciente coletivo e dos arquétipos irão, em grande parte, balizar a interpretação proposta neste (...) trabalho. Tal análise será dividida em oito subáreas, entre elas: o significado do seu aspecto animalesco na escatologia cristã, o hermafroditismo na psicologia e nas ciências arcanas, as qualidades mágicas do pentagrama e a importância hermética do caduceu. Por fim, conclui-se que o Bafomé é um símbolo de self, o arquétipo da totalidade psíquica. Bafomé tem por finalidade ser uma alternativa à imagem primordial cristã de autorrealização, mais integradora e menos repressora que esta. Palavras-chave: Alquimia. Cristianismo. Magia. Psicologia junguiana. Religião e psicologia.Baphomet, the lasting creation of the French writer Éliphas Lévi, is an icon of the esoteric universe: it is the history’s best-known “satanic” image. In an attempt to unravel its rich symbolic composite, an iconographic exegesis will be conducted through the use of analytical psychology, founded by the Swiss psychiatrist Carl Gustav Jung. The origins of Baphomet in alchemy, Kabbalah and Gnosticism will investigated mostly through the application of Jungian concepts such as the collective unconscious and the archetypes. Such analysis will be divided into eight sub-areas, including: the significance of his animal appearance in Christian eschatology, hermaphroditism in psychology and the arcane sciences, the magical qualities of the pentagram and the importance of the caduceus in hermetism. Finally, we conclude that Baphomet is a symbol of the self, the archetype of psychic wholeness. Baphomet aims to be an alternative to the Christian primordial image of self-realization, more inclusive and less repressive than the latter. Keywords: Alchemy. Christianity. Jungian psychology. Magic. Religion and psychology. (shrink)

This article aims at elucidating the logic of Arist. SE 22, 178b36–179a10 and, in particular, of the sophism labelled "Third Man" discussed in it. I suggest that neither the sophistic Walking Man argument, proposed by ancient commentators, nor the Aristotelian Third Man of the , suggested by modern interpreters, can be identified with the fallacious argument Aristotle presents and solves in the passage. I propose an alternative reconstruction of the Third Man sophism and argue that an explanation of the lines (...) regarding the identity of Coriscus and Coriscus the musician (178b39–179a3) is indispensable for its correct understanding, since they hint at another sophism in some important aspects analogous. Finally, I show that two contradictions concerning spotted by scholars in the passage are only apparent and can be dissolved once the assumption that the anti-Platonic Third Man argument is at stake here is discarded, and once the passage is read in the light of its agonistic context. (shrink)