Inflected seeing-in is a special experience of the vehicle and subject of a picture, which are experienced as related to each other. Bence Nanay recently defended the idea that inflected picture perception is central to the aesthetic appreciation of pictures. Here I critically discuss his characterization of inflection, and advance a new one, that better accounts for the structure and content of inflected experience in terms of properties of the pictures themselves and also clarifies the distinctive contribution of inflection to (...) pictorial aesthetics. Two kinds of inflected seeing-in are distinguished in terms of two functions the design properties of a picture can realize. One kind of inflected seeing-in allows us to experience how the picture design sustains what is seen in the picture and is responsible for the representation of the picture subject. The second kind, which is only supported by some pictures, also captures how properties of the vehicle alter or enrich the picture content so as to elicit an experience of the depicted subject as having properties it could not be seen as having in face-to-face experience. This inflected experience is distinctively associated with our visual experience of the aesthetically valuable relations between vehicle and content which are unique to pictorial representation. (shrink)

The paper offers some arguments in favour of the view that there are aesthetic properties of performances of works of Western classical music that always count as good-making features of such performances.

Cognitivism in respect to the arts refers to a constellation of positions that share in common the idea that artworks often bear, in addition to aesthetic value, a significant kind of cognitive value. In this paper I concentrate on three things: (i) the challenge of understanding exactly what one must do if one wishes to defend a cognitivist view of the arts; (ii) common anti-cognitivist arguments; and (iii) promising recent attempts to defend cognitivism.

This research conducted in state and municipal public schools of Recife in Pernambuco through research project that had the support of UFPE and CNPq aimed to analyze the Religious Education curriculum, the place that women, especially with marginalized sexual orientation as lesbian, bisexual and transgender occupy. To this end, we work with the methodology of Discourse Analysis and the Theory of Speech, looking first identify the main ideologies surrounding and involving the theme, then locate the hegemonic discourse or hegemonic discourses (...) that claimed around him. Thus, it reached the conclusion that approaches religion, gender and sexual diversity, which are expressed in the daily life of the classrooms are not, however, raised the disciplinary component examined in the absence of a curriculum that can assist teachers by through proposals and pragmatic content activities that encourage the emergence of points to be considered, negotiated and correlated to the themes in question. Thus, the difficulties in dialogue about sexual orientation and homosexuality in general, and specifically in the female case, are great in ER discipline in the schools surveyed. (shrink)

A imagem da noite é uma constante em diversas tradições místicas, estando associada à necessidade, expressa pela mística apofática, de transcender às imagens, ao conhecimento e ao nome de Deus, bem como a um método ascético que conduziria a uma experiência que não sendo sensível ou inteligível, não é catalogável pelo nosso sistema de cognição. A noite será uma das imagens mais poderosas e de maior expressividade na poesia de São João da Cruz, representante da mística ibérica do séc. XVI. (...) Uma imagem negativa que nos fala de um processo de negação gradual e progressivo que avança até um ponto limite que onde reste a afirmação absoluta do Nome divino. O artigo pretende, pela análise dos poemas Cântico espiritual e Noite escura, ensaiar algumas conjecturas sobre o significado da metáfora noite escura em São João da Cruz e no discurso místico em geral. Palavras-chaves: São João da Cruz. Poesia mística. Cântico spiritual. Noite escura.: The image of the night is a constant in various mystical traditions, and it is generally related to the need, expressed by the mystical apophatic, of transcending the images, the knowledge, and the name of God. Such image is also comprehended as an ascetic method which would lead to an experience that is neither sensible nor intelligible, and because of that it is not understandable by our system of cognition. The night is one of the most powerful and expressive image in the poetry of São João da Cruz, a representative poet of the Iberian mystical poetry of the nineteenth century. The metaphor of the night is a negative image that speaks us of a process of gradual and progressive denial that moves toward a tipping point where the absolute affirmation of the Divine Name remains. The paper develops, through the analysis of the poems “Spiritual Chant” and “Dark Night”, some conjectures about the meaning of the dark night metaphor in São João da Cruz and in the mystical discourse as a whole Key-words : São João da Cruz. Mystical poetry. Spiritual Chant. Dark Night. (shrink)

Uma análise, ainda que de modo breve, da linguagem dogmática dos discursos dos séculos XV-XVII, período da colonização, nos leva à compreensão de que, na tarefa de anunciar a salvação aos povos do novo continente, algumas concepções de mundo serviam de balizas fundamentadoras para o trabalho missionário. O movimento catequético realizado na América neste período é marcado por discursos e ações profundamente envolvidos pela cosmovisão sesquicentista de uma evangelização ligada de forma dependente à empresa colonial lusitana que se tornava o (...) leitmotiv e o carro chefe da presença da Igreja e da evangelização nas remotas terras distantes. Bastante ligada a esse processo, a catequização deixava às claras a dependência a algumas concepções de mundo que influenciavam enormemente o discurso e as ações a serem aplicados para com os aldeados e os colonos. (shrink)

É lugar-comum entre os helenistas dizer que durante o século V a.C desenvolveu-se em Atenas um movimento, chamado sofística, que deu origem à educação propriamente dita. Pode-se dizer que os chamados sofistas são considerados os primeiros “docentes profissionais”, que cobravam pelos seus ensinamentos. O presente trabalho pretende apresentar uma caracterização dos sofistas como educadores; entretanto, tal caracterização não pode ser encontrada diretamente nos fragmentos que restaram dos próprios sofistas. Para tanto, recorreremos ao testemunho de Platão nos seus diálogos Protágoras e (...) Górgias, as fontes mais diretas acerca dos objetos, métodos e destinatários do ensino desses dois sofistas. (shrink)

Apresenta-se nesse texto as repercussões do Concílio Vaticano II na Igreja particular de Goiás. A fidelidade ao Concílio produziu efetiva participação de todos – presbíteros, religiosas e religiosos, leigos e leigas. Tomando como referências a vivência e experiência de pastor nessa diocese (1967-1998) e diversos estudos, Dom Tomás mostra os aspectos mais relevantes dessa história: as assembléias diocesanas, com participação de leitos (1968); as CEBs e a concretização da opção pelos pobres; as Escolas Bíblicas; a defesa da posse da terra, (...) a Comissão Pastoral da Terra - CPT e o enfrentamento da ditadura militar; a causa indígena; o ecumenismo; o exercício da colegialidade; a articulação dos bispos comprometidos com as CEBs na CNBB; o problema da Visita Apóstólica na diocese; apresenta ainda um balanço de erros e conflitos; e finalmente, relata o Sínodo diocesano (1995) e seus objetivos: 1) Avaliar a situação concreta do povo, seus sofrimentos e suas lutas, para se ter uma visão mais clara da realidade; 2) Julgar à luz da Palavra de Deus;. 3) Desenvolver com mais clareza a missão da nossa Igreja dentro dessa mesma realidade. Palavras-chave : Concílio Vaticano II. Diocese de Goiás-Brasil. Participação. Colegialidade. Abstrat This article written by Archbishop Tomás Balduíno presents the impact of Vatican II in the particular Church of Goiás, emphasizing that the loyalty to the Council produced effective participation of priests, religious and lay people. Given his experience as a pastor in this diocese (1967-1998) and several studies, Bishop Thomas shows the most relevant aspects of this story: the diocesan assemblies, with the participation of lay people (1968); the CEBs and realization of the option for the poor; the Bible Schools; the defense of land tenure, the Pastoral Land Commission - CPT and the facing of the military dictatorship; the indigenous cause; ecumenism; the exercise of collegiality; the articulation of the bishops committed to the CEBs in CNBB; the problem of apostolic visit in the diocese. The article also presents a balance of errors and conflicts, and finally reports the diocesan Synod (1995) and its objectives: 1) Evaluate the concrete situation of the people, their sufferings and their struggles to get a clear picture of reality; 2) To make the judgment of reality in light of the word of God; Develop more clearly the mission of our Church in this reality Keywords : Vatican II. Diocese of Goiás-Brazil. Participation. Collegiality. - DOI: 10.5752/P.2175-5841.2011v9n24p1341. (shrink)

The question of whether food is art depends primarily on the definition of art that we agree to accept. The article proposes a model that helps us to focus our mind on what could be, and how we should understand the art of food, if we accept, having applied a fairly liberal theory of art, that food can actually be art. It is argued that there are no methodological or factual constraints indicating that food could not, under some circumstances, be (...) high art. This hypothetical form of art is called ‘edible art’. (shrink)

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and activities. (...) I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically. (shrink)

There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...) that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non-photographic pictures in both respects. (shrink)

Tragedy is superior to comedy. This is the received view in much philosophical aesthetics, literary criticism and amongst many ordinary literary appreciators. The paper outlines three standard types of reasons given to underwrite the conceptual nature of the superiority claim, focusing on narrative structure, audience response and moral or human significance respectively. It sketches some possible inter-relations amongst the types of reasons given and raises various methodological worries about how the argument for tragedy’s superiority typically proceeds. The paper then outlines (...) a new normative account of a type of literary or dramatic comedy – ‘high comedy’ – which proves to be tragedy’s equal. High comedies, it will be argued, have complex narrative structures shaping audience responses underwriting the moral significance of the comic mode. The received view is unjustified and appreciating why this is so casts light on the nature and value of comedy. (shrink)

Understanding a work of representational art involves more than simply grasping what it represents. We can distinguish at least three types of content that representational works may possess. First, all representational works have explicit representational content. This includes the literal content of a linguistic work and the depictive content of a pictorial work. Second, they often have a conveyed content, which outstrips their explicit representational content, including much that is merely implicit in the work, and may exclude certain aspects of (...) explicit representational content, as when explicit representational content is used for nonliteral forms of representation such as irony, metaphor, symbolism, or allegory. It is part of the conveyed content of Bruegel's The Fall of Icarus (c. 1560) that Icarus has just fallen from the sky, although the landscape does not depict his fall. (shrink)

From the late-1990s onwards, anti-social behaviour has been high on the political agenda in Britain. This chapter draws on philosophical, criminological and other writings to unpick some influences of aesthetic taste on what is perceived to be anti-social. The meaning and subjectivity of aesthetic judgment are considered, with examples given that may lead to censure and ‘banishment’ – such as wearing a hoodie, writing the wrong sort of graffiti or being visibly homeless. Due to its influence on British policy, Wilson (...) and Kelling’s (1982) ‘broken windows’ is given particular attention and, in line with Ferrell (2006), is seen as an aesthetic theory that makes various assumptions as to what – or who – act as signals of urban decay. The chapter considers whether it is ever right to censure aesthetic taste and simply banish the unsightly. Instead, it is suggested that respect for difference could alternatively be promoted. (shrink)

In this article, I argue against Dominic McIver Lopes’s claim that nobody needs a theory of art. On the one hand, I will demonstrate that Lopes’s alternative to theories of art – namely, the buck-passing theory of art – is neither more viable nor more fruitful: it is likewise incapable of resolving disagreement over the status of certain artefacts and of being fruitful for the broader field of the arts. On the other hand, I will defend the view that we (...) are in need of a viable theory of art. The concept of art has a profound impact on our cultural practices. Concepts of art in use now showcase biased and arbitrary features. Correspondingly, certain artefacts and practices are excluded from the domain of art without adequate justification. Therefore, I will argue, it is unwarranted to abandon the search for a viable theory of art. (shrink)

El presente estudio analiza los recursos narrativos utilizados en los libros de viajes europeos a finales de la Edad Media. En primer lugar, se revisa la discusión sobre los relatos de viajes y la literatura de viajes, examinando las estructuras narrativas que configuran los escritos reales e imaginarios en los periplos. Posteriormente, se estudian los recursos narrativos aplicados a los relatos de los viajeros occidentales –tales como el itinerario, el orden espacial y cronológico, los mirabilia, entre otros-, estableciendo un relato (...) verosímil y legítimo frente a cualquier tipo de invención o falta de rigurosidad en la narración de viaje. En suma, nuestra propuesta de investigación sostiene que el método narrativo de los viajeros, basado en la curiosidad, la observación y el deseo de conocer nuevas cosas, privilegia la búsqueda de objetividad y verosimilitud en el relato. Los viajeros desean presentar con profunda sinceridad las verdades del mundo, lo que se torna una unidad en la composición narrativa de los libros de viajes medievales. (shrink)

In this paper, we wish to outline the main historical moments which have led to the first exact measurements of the anomalous magnetic moment of the muon.

This article aims to present some elements of deep relevance for a better understanding of the importance of "listening" to the Word of God in the liturgy. Once we live the culture of noises in the modern society, there’s a need for a culture of listening, so that in the silence of words, the Word of God, proclaimed in the liturgy, can have its primacy. It is a reflection that signs out the celebrative space as an environment of silence and (...) listening to the Word of God. It also intends to awaken in the heart of the listener, through gestures and words, the sacramental dimension of Scripture in the liturgy. (shrink)