This essay examines the possibility that phenomenological laws might be implemented by a computational mechanism by carefully analyzing key passages from the Prolegomena to Pure Logic. Part I examines the famous Denkmaschine passage as evidence for the view that intuitions of evidence are causally produced by computational means. Part II connects the less famous criticism of Avenarius & Mach on thought-economy with Husserl's 1891 essay 'On the Logic of Signs (Semiotic).' Husserl is shown to reaffirm his earlier opposition to associationist (...) (Humean) and adaptationist (Darwinian) explanations of our thought-machine on the ground that they cannot reconstruct the notion of truth and its syntactic mental preservation in symbolic thought-trains. Part III reveals Husserl's interesting commitment to the idea that descriptive sciences necessarily transform into explanatory sciences on pain of contradicting the essence of science as a rational ideal. Since explanation in relation to phenomenology means causal explanation, and causal explanation in the form of the Denkmaschine accounts for phenomenological intuition, it is inferred that the rationally compelling ideal of explanatory science requires a computationalist reading of the subsequent logical investigations. (shrink)

Psychologism is defined as “the doctrine that the laws of mathematics and logic can be reduced to or depend on the laws governing thinking” (Moran & Cohen, 2012 266). And for Husserl, the laws of logic include the laws of meaning: “logic evidently is the science of meanings as such [Wissenschaft von Bedeutungen als solchen]” (Husserl ( 1975 ) 98/2001 225). I argue that, since it is sufficient for a theory to be psychologistic if the empiricistic theory of abstraction is (...) employed, it follows that neural networks are psychologistic insofar as they use this theory of abstraction, which I demonstrate is the case (Husserl ( 1975 ) 191/2001 120). It’s sufficient for psychologism because, according to Husserl, the theory in question reduces one’s phenomenological ability to intend types (or universals) to one’s past history of intending tokens (or particulars), usually amalgamated in some fashion (classically via associations; recently via autoencoders) (ibid; Kelleher, 2019 ). Similarly dynamical systems theory entails psychologism. For dynamical systems theory ties content to the temporal evolution of a system, which, according to Husserl, violates the fact that intentionality toward validities and objectivities does not pertain to "particular temporal experience[s]" (Husserl ( 1975 ) 194/2001 121). It follows that neither the species (neural networks), nor the genus (dynamical systems), can avoid psychologism and intend objects "in specie" (ibid). After critiquing these two approaches, I proceed to give an account based on the essentialist school of cognitive psychology of how we may intend objects "in specie" while avoiding the empiricistic theory of abstraction (Keil, 1989, Carey, 2009, Marcus & Davis, 2019 ). Such an account preserves the type-token distinction without psychologistic reduction to the temporal evolution of a dynamical system (Hinzen, 2006 ). This opens the way toward a truly unifying account of Husserlian phenomenology in league with cognitive science that avoids Yoshimi's ( 2016 ) and neurophenomenology's psychologistic foundation (herein demonstrated) and builds upon Sokolowski's ( 2003 ) syntactic account of Husserlian phenomenology. (shrink)

The representations of deep convolutional neural networks (CNNs) are formed from generalizing similarities and abstracting from differences in the manner of the empiricist theory of abstraction (Buckner, Synthese 195:5339–5372, 2018). The empiricist theory of abstraction is well understood to entail infinite regress and circularity in content constitution (Husserl, Logical Investigations. Routledge, 2001). This paper argues these entailments hold a fortiori for deep CNNs. Two theses result: deep CNNs require supplementation by Quine’s “apparatus of identity and quantification” in order to (1) (...) achieve concepts, and (2) represent objects, as opposed to “half-entities” corresponding to similarity amalgams (Quine, Quintessence, Cambridge, 2004, p. 107). Similarity amalgams are also called “approximate meaning[s]” (Marcus & Davis, Rebooting AI, Pantheon, 2019, p. 132). Although Husserl inferred the “complete abandonment of the empiricist theory of abstraction” (a fortiori deep CNNs) due to the infinite regress and circularity arguments examined in this paper, I argue that the statistical learning of deep CNNs may be incorporated into a Fodorian hybrid account that supports Quine’s “sortal predicates, negation, plurals, identity, pronouns, and quantifiers” which are representationally necessary to overcome the regress/circularity in content constitution and achieve objective (as opposed to similarity-subjective) representation (Burge, Origins of Objectivity. Oxford, 2010, p. 238). I base myself initially on Yoshimi’s (New Frontiers in Psychology, 2011) attempt to explain Husserlian phenomenology with neural networks but depart from him due to the arguments and consequently propose a two-system view which converges with Weiskopf’s proposal (“Observational Concepts.” The Conceptual Mind. MIT, 2015. 223–248). (shrink)

Yoshimi has attempted to defuse my argument concerning the identification of network abstraction with empiricist abstraction - thus entailing psychologism - by claiming that the argument does not generalize from the example of simple feed-forward networks. I show that the particular details of networks are logically irrelevant to the nature of the abstractive process they employ. This is ultimately because deep artificial neural networks (ANNs) and dynamical systems theory applied to the mind (DST) are both associationisms - that is, empiricist (...) theories that derive the principles of thought from the causal history of the organism/system. On this basis, I put forward a new aspect of the old argument by noting that ANNs & DST are the causal bases of the phenomena of passive synthesis, whereas the language of thought hypothesis (LOT) and the symbolic computational theory of mind (CTM) are the causal bases of the phenomena of active synthesis. If the phenomena of active synthesis are not distinct in kind from and are thus reducible to those of passive synthesis, psychologism results. Yoshimi’s program, insofar as it denies this fundamental phenomenological distinction, is revealed to be the true anti-pluralist program, by essentially denying the causal efficacy of the mechanistic foundations of active synthesis by referring phenomenology exclusively to associationism for its causal foundation. (shrink)

Hubert Dreyfus once noted that it would be difficult to ascertain whether Edmund Husserl had a computational theory of mind. I provide evidence that he had one. Both Steven Pinker and Steven Horst think that the computational theory of mind must have two components: a representational-symbolic component and a causal component. Bearing this in mind, we proceed to a close-reading of the sections of “On the Logic of Signs” wherein Husserl presents, if I’m correct, his computational theory of mind embedded (...) in a language of thought. My argument goes like this: the computational theory of mind is the idea, following Haugeland, that the mind comes prepackaged as, or is endogenously constrained to be, an automatic formal system; this explains, according to Husserl, why automatic trains of thought without logical intent resemble arguments exhibiting deductive structure with logical intent. In general, an automatic formal system yields true results provided that the syntactic symbols with which they compute are univocal and are semantically evaluable, and the mechanized inferences they perform are valid and preserve truth. These two conditions describe a computational cognitive process: the first condition connects representations to syntax, and the second condition uses the syntax, in inauthentic judging, to arrive at true conclusions through blind causality. Now, in point of textual fact, these are the conditions which Husserl attributes to our “natural psychological mechanism of symbolic inference” which typically yields true results. Since a formal system attributed to the “internal structure” of the mind, and guided by blind causality, just is the computational theory of mind, it follows, I think, that Husserl had a computational theory of mind. This computational theory is, moreover, embedded in a language of thought, since Husserl attributes a language-like form to our thoughts so that they may be mechanically processed. I conclude with a discussion of my results. (shrink)

We argue in this article that Marx’s scientific method coupled with his analysis of the phenomenological consciousness of agents trapped within the capitalist mode of production provides a sufficient solution to the transformation problem. That is, Marx needs no amending – mathematical, philosophical, or otherwise – and the tools he uses to demonstrate and resolve the problem – science and phenomenology – were already clearly spelled out in his texts. Critics of Marx either fail to understand his scientific method, or (...) are themselves trapped within a non-scientific capitalist phenomenology. Similarly, Marxists that mathematically resolve the transformation problem fail to realise that Marx’s scientific analysis alone demonstrates that a mathematical solution to the transformation problem is a misapprehension of the relation between Marx’s abstract theory and concrete phenomena. Consequently, we also criticise the monetary theorists who try to dismiss the problem as pointless by claiming that Marx was not a pre-monetary theorist. (shrink)

In current debates concerning atheism, two positions are considered possible: naturalistic atheism or anti-naturalistic theism. Anti-naturalistic theism is motivated by the failure of naturalism to explain the fundamental nature of reality. We, however, endorse anti-naturalistic atheism by reviving the ‘anthropomorphic critique’, arguing that theism misattributes human traits to the deity. Anti-naturalistic atheism is better suited to refute theists, since it undercuts their appeal to science's inadequacies. We trace the anthropomorphic critique from Hume's Dialogues, through Kant's epistemology, and conclude with its (...) reception in Feuerbach. The anthropomorphic critique is an epistemological – not metaphysical – thesis, hence, it is agnostic about the fundamental nature of reality. Yet it convincingly shows that theism is not a tenable position. In essence, we aim to decouple atheism from naturalism, on the basis of a salient critique in the history of modern philosophy, in order to ameliorate current debates between atheists and theists.Export citation. (shrink)

In current debates concerning atheism, two positions are considered possible: naturalistic atheism or anti-naturalistic theism. Anti-naturalistic theism is motivated by the failure of naturalism to explain the fundamental nature of reality. We, however, endorse anti-naturalistic atheism by reviving the ‘anthropomorphic critique’, arguing that theism misattributes human traits to the deity. Anti-naturalistic atheism is better suited to refute theists, since it undercuts their appeal to science's inadequacies. We trace the anthropomorphic critique from Hume's Dialogues, through Kant's epistemology, and conclude with its (...) reception in Feuerbach. The anthropomorphic critique is an epistemological – not metaphysical – thesis, hence, it is agnostic about the fundamental nature of reality. Yet it convincingly shows that theism is not a tenable position. In essence, we aim to decouple atheism from naturalism, on the basis of a salient critique in the history of modern philosophy, in order to ameliorate current debates between atheists and theists. (shrink)

In the 1930s, the Bengali philosopher K. C. Bhattacharyya proposed a new theory of rasa, or aesthetic emotion, according to which aesthetic emotions are feelings that have other feelings as their intentional objects. This paper articulates how Bhattacharyya’s theory offers a novel solution to the puzzle of how it is both possible and rational to enjoy the kind of negative emotions that are inspired by tragic and sorrowful tales. The new solution is distinct from the conversion and compensation views that (...) dominate the existing literature, and it derives its significance from how it ties aesthetic experience to self-awareness. (shrink)

O presente artigo pretende analisar a tentativa de harmonização entre fé e razão, entre teologia e filosofia empreendida por Tomás de Aquino na introdução da Summa contra gentiles. Para tanto, será trabalhada a distinção tomista entre as verdades da fé e as verdades da razão, mostrando como, ao mesmo tempo em que a fé suplementa o conhecimento de Deus ao descortinar as verdades suprarracionais, a razão, por sua, introduz as verdades que também são cridas pela fé.

What is childhood? This basic but not less intriguing question guides the present philosophical exercise. However, along the journey, that first question inevitably leads us to some other indispensable queries: What are we able to know about children through the way they behave? Is it ‘what’ they are indeed? If behaviours show us some things, cannot they, at the same time, hide others from us? What is it they are showing or hiding? What is at stake here? Returning to our (...) first and guiding question and paying a little more attention to it, we may realise a very important detail there, which consists in just two letters: the use of the verb be. Most of the times, we ask ‘What is childhood?’ and, a moment later, we turn away and forget what we were primarily looking for. Completely lost and without even noticing it, we eagerly begin our saga in order to produce theories and more theories about childhood. But what have become of the children themselves? Now they are nothing more than objects of our systematic and empirical scientific researches. We have been treating them as machines of behaviour and – with the help of cutting-edge technology – products of our manipulation. This way, we abandon who they are. We ignore their being. If we are truly willing to help them discover their ownmost potentiality-for-being (eigenstes Seinkönnen), that is, their possible authenticity (Eigentlichkeit), then we must face the challenge of receiving them as the Dasein they are. (shrink)

We define aesthetic emotions as emotions that underlie the evaluative assessment of artworks. They are separated from the wider class of art-elicited emotions. Aesthetic emotions historically have been characterized as calm, as lacking specific patterns of embodiment, and as being a sui generis kind of pleasure. We reject those views and argue that there is a plurality of aesthetic emotions contributing to praise. After presenting a general account of the nature of emotions, we analyze twelve positive aesthetic emotions in four (...) different categories: emotions of pleasure, contemplation, amazement, and respect. The emotions that we identify in each category, including feelings of fluency, intrigue, wonder, and adoration, have been widely neglected both within aesthetics and in emotion research more broadly. (shrink)

Theoretical models and correlational research suggest that anger and disgust play different roles in moral judgment. Anger is theorized to underlie reactions to crimes against persons, such as battery and unfairness, and disgust is theorized to underlie reactions to crimes against nature, such as sexual transgressions and cannibalism. To date, however, it has not been shown that induction of these two emotions has divergent effects. In this experiment we show divergent effects of anger and disgust. We use sounds to elicit (...) anger and disgust, and participants are then asked to consider moral vignettes. As compared to disgust and control condition, anger increases severity of judgments about crimes against persons, and disgust increases severity of judgments about crimes against nature, but not conversely. (shrink)

Dominic McIver Lopes’ Four Arts of Photography and Diarmuid Costello’s On Photography: A Philosophical Inquiry examine the state of the art in analytic philosophy of photography and present a new approach to the study of the medium. As opposed to the orthodox and prevalent view, which emphasizes its epistemic capacities, the new theory reconsiders the nature of photography, and redirects focus towards the aesthetic potential of the medium. This symposium comprises two papers that critically examine central questions addressed in (...) the two books, with responses by the two authors in defence of their respective positions. (shrink)

_Imagination, Philosophy and the Arts_ is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. This collection of seventeen brand new essays critically examines just how and in what form the notion of imagination (...) illuminates fundamental problems in the philosophy of art. (shrink)

Recent financial fraud legislation such as the Dodd–Frank Act and the Sarbanes–Oxley Act (U.S. House of Representatives, Dodd-Frank Wall Street Reform and Consumer Protection Act of 2010, [H.R. 4173], 2010 ; U.S. House of Representatives, The Sarbanes–Oxley Act of 2002, Public Law 107-204 [H.R. 3763], 2002 ) relies heavily on whistleblowers for enforcement, and offers protection and incentives for whistleblowers. However, little is known about many aspects of the whistleblowing decision, especially the effects of contextual and wrongdoing attributes on organizational (...) members’ willingness to report fraud. We extend the ethics literature by experimentally investigating how the nature of the wrongdoing and the awareness of those surrounding the whistleblower can influence whistleblowing. As predicted, we find that employees are less likely to report: (1) financial statement fraud than theft; (2) immaterial than material financial statement fraud; (3) when the wrongdoer is aware that the potential whistleblower has knowledge of the fraud; and (4) when others in addition to the wrongdoer are not aware of the fraud. Our findings extend whistleblowing research in several ways. For instance, prior research provides little evidence concerning the effects of fraud type, wrongdoer awareness, and others’ awareness on whistleblowing intentions. We also provide evidence that whistleblowing settings represent an exception to the well-accepted theory of diffusion of responsibility. Our participants are professionals who represent the likely pool of potential whistleblowers in organizations. (shrink)

How are patriarchal regimes perpetuated and reproduced? Kate Manne’s recent work on misogyny aims to provide an answer to this central question. According to her, misogyny is a property of social environments where women perceived as violating patriarchal norms are ‘kept down’ through hostile reactions coming from men, other women and social structures. In this paper, I argue that Manne’s approach is problematically incomplete. I do so by examining a recent puzzling social phenomenon which I call (post-)feminist backlash: the rise (...) of women-led movements reinstating patriarchal practices in the name of feminism. I focus on the example of ‘raunch feminist’ CAKE parties and argue that their pro-patriarchal dimension cannot be adequately explained by misogyny. I propose instead a different story that emphasizes the continued centrality of gender distinctions in our social normative life, even as gendered social meanings become increasingly contested. This triggers meaning vertigo, a distinct form of social anxiety and the reactionary impulse at the heart of (post)-feminist backlash. Meaning vertigo both complicates the answer to Manne’s main question—“why is misogyny still a thing?”—and suggests the need and opportunity for a different kind of feminist political intervention. (shrink)

En 1919, la même année où Jean Giraudoux fait son « Adieu à la guerre », il écrit « Les morts d’Elpénor ». En 1926, à côté de trois autres histoires, ce texte intégrera le corps d’Elpénor, déterminant l’ensemble, une collection de quatre textes écrits pendant dix-huit ans, le premier étant « Cyclope », écrit en 1908 ; le deuxième, « Sirènes », en 1912 ; le troisième en 1919 ; et le dernier en 1926, « Les nouvelles morts d’Elpénor (...) ». Quand « Cyclope » et « Sirènes » sortent respectivement chez Le Matin en 1908 et chez Paris-Journal en 1912 aucun d’entre eux ne mentionne Elpénor. Bref, c’est avec le développement des deux dernières histoires, que Elpénor, cette figure effacée chez Homère et absente dans les deux premiers textes de Giraudoux, vole la vedette. Cet article voudrait montrer comment la mise à jour du héros et de ses histoires est en dialogue avec la guerre vécue par l’auteur, pour proposer comment les vieilles histoires, lorsqu’elles sont renouvelées, participent à un processus qui leur permet d’élaborer les défis du présent, communiquant le présent, à travers un code déjà public, l’Odyssée. (shrink)

The idea that natural languages shape the way we think in different ways was popularized by Benjamin Whorf, but then fell out of favor for lack of empirical support. But now, a new wave of research has been shifting the tide back toward linguistic relativity. The recent research can be interpreted in different ways, some trivial, some implausibly radical, and some both plausible and interesting. We introduce two theses that would have important implications if true: Habitual Whorfianism and Ontological Whorfianism. (...) We argue that these offer the most promising interpretations of the emerging evidence. (shrink)

Settling down after the big meal at the family reunion brings on a little nostalgia. Out come the photo albums. As the pages turn, you see familiar faces as they looked long ago. One photo shows a surprisingly sexy young woman, and you exclaim, "That's Aunt Jane!" What you say is true. The explanation is this: what you say is true in part because the picture puts you in the same kind of position with respect to Aunt Jane as the (...) position you are in when you see her face to face. In general, (DR) Pictures perceptually ground demonstrative reference to depicted objects. This chapter makes a case for DR. (shrink)

Aesthetic appreciation involves background belief. While some appreciations are adequate when these beliefs are false, there is an important class of beliefs -- beliefs about the nature art work kinds -- whose truth is required for adequate appreciation. Photography is an interesting case, since many of our beliefs about it are false.

One question that leads us into aesthetics is: why does beauty matter? Or, what do aesthetic goods bring to my life, to make it a life that goes well? Or, how does beauty deserve the place we have evidently made for it in our lives? A theory of aesthetic value states what beauty is so as to equip us to answer this question. According to aesthetic hedonism, aesthetic values are properties of items that stand in constitutive relation to pleasure. Contemporary (...) versions of aesthetic hedonism don’t explain what makes aesthetic values aesthetic, but they do explain what makes them normative, stating what makes it the case that aesthetic value facts lend weight to what an agent should do, for the fact that acting yields pleasure is always a reason to act. This book introduces and defends an alternative to aesthetic hedonism. According to the network theory, aesthetic value facts lend weight to its being an achievement for an agent to act. Since agents achieve by acting in coordination with one another, the theory takes seriously the sociality of aesthetic activity. The main argument for the network theory is that it better explains six facts about aesthetic activity than does aesthetic hedonism. The book also discusses the relationship between aesthetic value and pleasure, the point and distinctive character of aesthetic discourse, and the metaphysics of aesthetic value. Two final chapters use the network theory to shed light on how aesthetic value matters to us as individuals and as members of collectives. (shrink)

O presente texto tem por simples objectivo o comentário sistemático ao capítulo 2 do Livro V da Metafísica de Aristóteles, onde o autor apresenta uma sistematização sobre o chamado modelo das quatro causas. Teremos também no horizonte de análise o famoso capítulo 3 do Livro I do mesmo tratado, onde Aristóteles inicia a crítica à tradição precedente justamente à luz deste modelo de causalidade. O objectivo é apenas comentar e esclarecer o texto original, cujas hesitantes formulações podem levantar alguns obstáculos (...) de interpretação. (shrink)

The present comment on Solari and Natiello’s paper values their constructivist approach to Newtonian Mechanics. My critical point concerns only the link between the concept of force and phenomena. It will be shown that the idealised form of the law of inertia created by the authors avoids criticism of the law and that this law leads to the concept of force as the cause of acceleration. This concept appears in the authors’ reconstruction as an assumption. They add that this assumption (...) must be contrasted with experiments. Following this, I address an experiment, in which the force that is taken as the cause of acceleration, is not present in the phenomenon at stake. As it thus does not satisfy the property of locality, which any cause has to, force cannot be a cause. (shrink)

Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social (...) determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography. (shrink)

This is the first of a series of papers in which I present a defense of moderate objectivism about the evaluation of performances of musical works in the Western classical tradition.

The concept of authenticity as a predicate of performances of musical works is discussed in the context of the Western classical tradition.I claim that the concept of a performance of a musical work raises issues of relativity and indeterminacy, since its application is not completely free from music-historical contextuality and from considerations of aesthetic value.I challenge the argument for the necessity of authenticity in performance that eschews the problem of determining the extension of the concept authentic performance of a work' (...) by reducing the concept to that of the correct instantiation of that work.I suggest that the way the present socio-musical context defines the boundaries of correction and authenticity in performance derives from a balance, and a tension, between two types of interest in performance as an artistic practice: an interest in the performed work as the artistic product of its composer, which favours fidelity to the work; and an interest in the performance as the artistic product of the performer, which favours the latter's creative freedom.I argue for the relevance of certain moral obligations to composers on the part of performers, but also for the defeasible character of these obligations, thus blocking the view according to which historical authenticity is an absolute moral imperative.I distinguish personal authenticity, as creativity and sincerity on the part the performer, from historical authenticity, as the performance's faithfulness to the work performed, to its composer, or to the sound, performance practice or musical experience that were typical of the work's original context. I argue against the view that the historically authentic performance has an advantage over other kinds of performance in terms of propensity to generate more aesthetically successful results.The promotion of historical authenticity by the historically informed performance movement is analyzed as artistic ideology and practice. I conclude that the priority of historical authenticity is not a defensible artistic ideal, since it is ultimately incompatible with aesthetic priorities. (shrink)

O artigo parte do consenso sobre a facto de que a arte tem valor para a exploração dos vários problemas sobre esse valor cujas soluções dividem os filósofos da arte. O enfoque é especialmente sobre a dimensão mais actual do debate em torno do tema, que se debruça não tanto sobre questões como o realismo quanto aos valores estéticos e a objectividade e justificação dos juízos de valor estético, mas acima de tudo sobre a natureza do valor artístico – que (...) tipo de valor é e em que propriedades da arte (se nalguma) reside. (shrink)

This paper describes Stein’s process for establishing the relationship between finite and temporal beings and infinite and eternal beings. Although she contextualized her research in the fields of phenomenology and ontology, Stein surpasses these domains. Following Aquinas, Stein uses the analogy to trace the ascension towards the sense of Being. However, this process ends up being closest to the position of St. Augustine. In fact, the author first draws up a temporal analogy and then a personal analogy starting from two (...) pieces of evidence: the certainty of “I am”, from Augustine, Descartes, and Husserl, and the divine “I am”, according to the name that God reveals of himself: “I am who I am”. Through personal analogy, the author goes beyond phenomenology and ontology, while the category “person” includes both being and an attributed fullness. (shrink)

This paper presents a new theoretical justification for the Cournot–Bertrand model to arise in equilibrium when firms have, at the outset, the same cost structure and sell symmetrically differentiated products. The Cournot–Bertrand model assumes some firms compete on price, adjusting their production to meet demand, while others set quantities and let their price adjust until market equilibrium is reached. We show that this may occur endogenously due to the possibility of entry, which may be deterred when some of the incumbents (...) decide to set prices, while others free ride on this behavior and choose quantities. (shrink)

O presente artigo é fruto de trabalhos e pesquisas conduzidos pela equipe de coordenação do PNLD 2018 (Plano Nacional de Livros Didáticos), a qual se reuniu por duas ocasiões, juntamente com todos os pareceristas, em seminários exclusivamente dedicados ao projeto. O texto pode, pois, ser dividido em quatro seções, as quais (e cuja divisão) se revelarão suficientemente evidentes para o leitor. Em primeiro lugar, é apresentada uma revisão historiográfica (inédita, tanto quanto sabemos) do ensino de Filosofia no Ocidente, desde as (...) primeiras instituições da Antiguidade até a atualidade, mas com especial enfoque no caso brasileiro. Em segundo lugar, apresentamos uma revisão crítica da legislação mais relevante, sobretudo a vigente, para o processo de seleção dos manuais didáticos a distribuir pelas escolas brasileiras durante o período de vigência do edital, referindo em particular os critérios que nortearam tal seleção. Em terceiro lugar, são referidos alguns dos aspectos mais importantes das obras aprovadas neste edital do PNLD. Finalmente, são abordados alguns aspectos relativos aos desafios que o PNLD terá necessariamente que enfrentar, tendo em conta a conjuntura brasileira atual, nomeadamente os pacotes legislativos mais recentes a propósito do PNLD enquanto tal, mas também do papel da própria Filosofia no ensino obrigatório no nível médio. (shrink)

(2007). A Rview Of “Musonius Rufus and Education in the Good Life: A Model of Teaching and Living Virtue”. Educational Studies: Vol. 42, No. 1, pp. 77-81.

O N Concilio de Latrão, realizado em 1215, foi para a Igreja Ocidental o mais importante do período medieval. Seus 70 cânones apresentam uma síntese do projeto de reforma eclesial liderado pelo Papado, em vias de implantação desde meados do século XI, e que visava, dentre outros pontos, a moralização do clero. Contudo, qual foi o impacto destas regulamentações canônicas nas diversas regiões da Cristandade? Como tentativa de resposta parcial a tais questões, optamos por um estudo de caso: o da (...) Igreja Castelana, tão resistente às imposições romanas no século XI. Para o estudo da questão, optamos pela análise da obra literária Vida de Santo Domingo de Silos, de. Gonzalo de Berceo, clérigo secular e primeiro autor culto a escrever em castelhano do qual possuímos notícias históricas. Objetivamos, através do estudo comparativo desta obra literária e os cânones do Concilio de 1215, o impacto e penetração no início do século XIII, em Castela, do projeto de reformulação da moral eclesiástica promovido pelo papado. (shrink)

RESUMO O objetivo deste ensaio é apresentar, em termos comparativos, como o excesso políticoestético é o elemento de aproximação entre os temas do corpo e da transgressão que, dispostos sob contextos diversos, são facilmente encontrados nas obras de Mikhail Bakhtin e Georges Bataille. Assim, ainda que oriundos de campos distintos (dos estudos dialógicos da linguagem às observações da ordem de uma economia geral), ambos os autores transitam por um terreno comum às produções de sentidos que, em suma, é calcado na (...) efemeridade, ambiguidade e ambivalência do excesso. (shrink)

ABSTRACT The purpose of this essay is to present, in comparative terms, how political-aesthetic excess is the common element of issues like the body and transgression arranged under different contexts in the works of Mikhail Bakhtin and Georges Bataille. Thus, despite coming from different fields (from dialogical studies of language and observations of general economy), both authors move through mutual ground to the production of meanings which is based on ephemerality, ambiguity, and ambivalence of excess.

ulations and show that they are definable by a trivial kind of coequation— namely, over one "color". We end with an example of a covariety which is not closed under bisimulations.