Tradução para o português do artigo "Pyrrhon et le scepticisme primitif”, de Victor Brochard. Artigo publicado na Revue philosophique de la France et de l’Étranger, Ano 6, 1885, p. 517-532.

Trata-se de uma introdução interpretativa ao primeiro livro filosófico publicado por Simone de Beauvoir, Pirro e Cinéias (1944), que inaugura, segundo ela, após a eclosão da Segunda Guerra Mundial, o período moral de sua carreira literária e seu interesse particular em atribuir um conteúdo material à moral existencialista – junto de um livro publicado posteriormente, Por uma moral da ambiguidade (1947). Destaca-se, portanto, que Beauvoir é a autora que vai superar as oposições que separavam a natureza da cultura, o (...) corpo do espírito, a liberdade da facticidade, a subjetividade da objetividade, o individual do coletivo, o particular do universal, de tal forma que sua alternativa será, no ensaio aqui estudado, pensar como as liberdades separadas entre si se reconhecem mutuamente para que o movimento ontológico de uma em direção à outra possibilite uma investigação do vínculo fundamental e indissociável entre os extremos mencionados. Com efeito, nossa conclusão é que Pirro e Cinéias anuncia duas das ideias centrais que esclarecem o período moral da literatura beauvoiriana, que é a individualidade de cada situação vivida, tal como as situações de suas personagens literárias, e o movimento das liberdades situadas em sua própria dimensão: a dimensão humana. (shrink)

The object of study in this paper is belief. Our aim is to show how, through this concept, Hume's modern and Pirro's ancient scepticism may converge into a fairly similar position. Both the theoretical and at the same time practical attitudes consider it licit to "assent to what presents itself to man in an unavoidable way and independently from our will". As we now, there is for Sixtus as well as for Hume something, regardless of the name we give (...) it , which "induces" us to or "demands" assent from us, [the latter being] a fundamental term which seems to indicate a concept common to both, ancient scepticism and Hume's thought. Would it then be legitimate or justified to keep giving our support to that statement of history that called Hume first an "empiricist" and afterwards a "naturalist"? Would it not be more accurate to trace some pirronism, even unconscious, in the Scot's ideas? Our answer starts off from Michael Frede's non-traditional interpretation, who somewhat firmly set up the idea that the sceptical resign having beliefs, or at least, can have them without by it trespassing the epoché. The central issue will then be to determine which meaning should be attributed to the term "belief".El objeto de estudio de este trabajo es la creencia. Nuestro objetivo es mostrar cómo a través de ese concepto el escepticismo moderno de Hume y el antiguo de Pirrón pueden llegar a converger en una posición bastante similar. Ambas actitudes teóricas y a la vez prácticas consideran que es lícito dar "asentimiento a aquello que se presenta al hombre de modo inevitable e independientemente de nuestra voluntad. Sabemos que tanto para Sexto como para Hume hay algo, independientemente del nombre que le demos , que nos "induce" o nos "exige" asentimiento, término fundamental que parece indicar un concepto común al escepticismo antiguo y al pensamiento de Hume. ¿Será entonces legítimo o justificado seguir apoyando el juicio de la historia que calificó en un principio a Hume de "empirista" o posteriormente de "naturalista"? ¿No será más exacto rastrear cierto pirronismo, aunque sea inconsciente, en las ideas del escocés? Nuestra respuesta parte de la interpretación no tradicional de Michael Frede que fundamentó con cierta solidez la idea de que el escéptico no renuncia a tener creencias o, al menos, puede tenerlas sin infringir con ello la epoché. La cuestión central será entonces determinar qué significado habría que atribuir al término "creencia". (shrink)

The argument set out here provides a new understanding of the methods followed by the Renaissance architect Andrea Palladio for depicting the monuments of classical antiquity—in both his drawings and the plates of his seminal architectural treatises, the Quattro libri dell’architettura. It accepts the now-established view that Palladio’s early studies were frequently copied from the drawings of previous practitioners, but it reasons that his later output was also heavily dependent on past achievements. This is contrary to the claims Palladio made (...) in the Quattro libri, which contend that his drawings were based on surveys he had carried out himself, and to the confirmatory presumptions of modern-day scholars. The article first examines the ancient temples Palladio illustrated in the treatise, and observes that they have numerous features that are unsupported by the archaeological record but are also seen either in Palladio’s earlier copy drawings or in the graphic works of his predecessors or contemporaries. Secondly, it considers Palladio’s drawings of bath complexes, which remained unpublished only because of his death, noting that some of them are still reckoned to be invaluable and reliable records of then-accessible remains that Palladio was able to inspect but no longer exist. The conclusion here, however, is that his reconstructions were again based on earlier surveys that he judged dependable, but which he often then adapted and adjusted in line with his personal preferences. The article then continues with a discussion of his probable debts to older architects such as Michele Sanmicheli and Antonio da Sangallo the Younger, and his relationship with his contemporary Pirro Ligorio, whose drawings are often markedly similar to Palladio’s. It concludes by considering whether Palladio’s coverage of ancient architecture reveals the extent of such knowledge at the midpoint of the sixteenth century. (shrink)

Current scholarship has focused on analyzing how Arendt's storytelling corresponds to her political arguments. In following up this discussion, I offer a closer examination of the unusual myth Arendt uses to explain the condition of the modern age, a myth she refers to as the ?political nature of history.? I employ literary terms along with the standard vocabulary of political theory in shaping this reading of Arendt. Following Robert C. Pirro, I also consider Arendt's story as a tragedy, but (...) in the broadest sense, that of a collision of two goods, freedom and security. By describing Arendt's thought in this manner, I hope to reveal another way in which Arendt represents the call to action that she believes so crucial to humanity, as a summons to we flawed antiheroes through the device of a heroic myth. (shrink)

Which is more important, tragedy or treatise? This question, which was posed as early as in antiquity, cannot easily be answered since tragedy has reflective passages on existential issues, just as philosophy uses tragedy for argumentation or takes the dramatic form itself. This is particularly evident in the work of the ‘philosophus scaenicus’ Euripides, in Plato, whose understanding of tragedy as expressed in the Symposium and the Laws is discussed here, and with Cicero and Seneca, who were both authors of (...) treatises and verses of tragedy. They constitute the focus of this volume, which also examines the function of the poetry quotations in Chrysippus and finally the significance of tragedy for Hannah Arendt’s political analysis. With contributions by Sandra Erker, Susanna Fischer, Thomas Gärtner, Andreas Heil, Argyri Karanasiou, Giovanni Panno, Robert C. Pirro, Tobias Riedl and Petra Schierl. (shrink)

Neste artigo examino a noção de ataraxía tal como presente no ceticismo pirrônico de Sexto Empírico. Meu propósito é mostrar que, a despeito de conservar aspectos que parecem estar a ela associados desde a filosofia de Pirro, o sentido da noção de ataraxía muda substancialmente e passa a possuir, ao menos nas Hipotiposes, um aspecto fundamental de ordem “intelectual” associado à supressão de um tipo específico de perturbação filosófica. Pretendo igualmente mostrar que tal peculiaridade permitiria compreender como ele se (...) relacionaria de modo coerente com a noção de investigação cética pirrônica e, para tanto, como ele se associa com a noção de “terapia filosófica” e de “epokhé sobre todas as coisas” que se fazem presentes na obra de Sexto. (shrink)

Resumen Investigación parcial del proyecto El escepticismo pirrónico-empírico y el escepticismo académico en su desarrollo histórico […] (EPADMECO) donde se explora la obra de las autoras contemporáneas Ghada Amer y Chiharu Shiota quienes han resignificado el hilo como elemento gráfico del dibujo expandido (línea bordada y en el espacio) para crear un discurso escéptico: imágenes artísticas que inducen a la duda, al conocimiento, en contraposición a las dogmáticas que nos invaden desde la posverdad. Parte del estudio de campo resultado de (...) estancias de investigación en el Centro Nacional de Arte Contemporáneo Reina Sofía y el Museo Nacional de Artes Decorativas. (shrink)