The Hungarian health care system is scheduled to undergo dramatic structural changes, emphasizing preventive medicine, health education, and competition among providers. Keywords: cost control, health care reform, health education, Hungary, market system, preventive medicine CiteULike Connotea Del.icio.us What's this?

Este trabajo explora una línea posible del diálogo entre Walter Benjamin y Hannah Arendt mediante la presentación de algunas intermitencias entre dos figuras relevantes de su pensamiento sobre la historia, la figura que Benjamin determina en su abordaje del Angelus Novus pintado por Paul Klee, y la figura de Er en los términos en que Arendt la elabora a partir de una parábola kafkiana. Retomamos ambas figuras con el objetivo de mostrar en ellas el intento filosófico de organizar un (...) pensamiento crítico que resista la esclerosis del concepto moderno y progresivo de historia: en un contexto en que el pasado pareciera diluirse en la impotencia de su presencia y el futuro se presenta como reproducción apocalíptica del desastre, sostenemos que Benjamin y Arendt convocan al Angelus Novus y al Er kafkiano como imágenes capaces de dislocar el anquilosamiento de la crítica y el flujo epistemológico implicado en la crisis moderna de la experiencia. (shrink)

Este trabalho foi desenvolvido a partir de uma apresentação feita na IV Semana Didático-Cultural e I Congresso de Pesquisa e Extensão da UEMG – Campus Barbacena. O título deste evento era História: Identidade e memória , e seu símbolo o quadro Angelus Novus de Paul Klee. Nosso objetivo era o de apresentar a relação entre o quadro e a temática do evento, para isso buscamos o apoio de três autores: Benjamin, dono do quadro, que demarcou a sua interpretação do (...) Angelus Novus comparando-o com o Anjo da história; Scholem, herdeiro do mesmo após a morte de seu amigo Benjamin, autor de um poema sobre o quadro de Klee; e Kafka, escritor que sempre povoou o debate epistolar dos dois anteriores, e que, apesar de não ter tido contato com o quadro de Klee, descreve o cenário em que é possível a sua produção. Por fim reavaliamos o quadro a partir do humor judaico que unifica a estes três autores, afim de redimensionar o valor de alerta representado pelo semblante aterrorizado do anjo de Klee. Nesta versão escrita a seqüência dos argumentos foi mantida, mas o texto foi substancialmente alterado para se adaptar ao novo veículo de divulgação. (shrink)

A linguagem apofática é um gênero discursivo estreitamente relacionado à Teologia Negativa, cuja formulação mais acabada se encontra na obra do Pseudo-Dionísio (séc. V), místico que funda uma tradição negativa que se perpetuará durante toda a Idade Média e Moderna. Na contemporaneidade diversos autores (DERRIDA, 1995 e 1997; FRANKE, 2007; PONDÉ, 2003; VEGA, 2004 e 2009 e outros) têm destacado a retomada desse gênero discursivo nas artes, na literatura e nas ciências humanas de forma geral. A linguagem apofática é, portanto, (...) um discurso que visa à própria transcendência e se orienta para a denúncia de um vazio intrínseco à linguagem e ao mundo que dela se origina, de tal modo que o Deus que aí comparece desliza sob nossa linguagem sem se deixar prender em nossas teias discursivas. No presente texto a impossibilidade do nome de Deus torna-se metáfora para se refletir, a partir do exemplo da mística de Angelus Silesius, sobre as possibilidades de um pensamento negativo cujos fundamentos sejam o esvaziamento da linguagem, que se vê despojada de sua capacidade de dizer o mundo, e o aprendizado do não-saber. Palavras-chaves: Linguagem apofática; Linguagem; Angelus Silesius; não-saber.Apophatic language is a genre closely related to negative theology, whose the most accomplished formulation is found in the Pseudo-Dionysius work (fifth century), who founded a mystical tradition that perpetuated throughout the Middle and Modern Ages. Several authors in contemporary such as Derrida (1995 and 1997), (Franke, 2007), (Pounde, 2003), (Vega, 2004 and 2009), and others, have highlighted the resumption of that genre in the Arts, Literature and the Humanities in general. Apophatic is, thus, a discourse that seeks transcendence, and it orients itself to denounce the emptiness intrinsic to language as well as to world, so that the God that there appears slips under our language without being caught in our discursive webs. In this text the impossibility of God's name becomes a metaphor to reflect, from the example of the mystique of Silesius Angelus, on the possibility of a negative thought whose foundations are the emptiness of the language, which finds itself stripped of its ability to tell the world, and from the learning of the not-knowing. Keywords: Apophatic language; Failure of language; Angelus Silesius; not-to knowing. (shrink)

Este artículo de homenaje a la Profesora Yolanda Ruano se divide en dos partes. En la primera discuto las críticas que ella realizara a mi libro sobre la diosa Fortuna en las que avanzaba su propio análisis de las complejas relaciones entre razón y fortuna en el pensamiento occidental. En la segunda parte, desde el punto de vista del “giro icónico” en humanidades y ciencias sociales, analizo el caso concreto del auge y desaparición de la diosa Fortuna en la iconografía (...) política de la ciudad de Berlín. A lo largo del siglo XIX la diosa Fortuna desaparece de la escena berlinesa y es sustituida por la diosa Niké o Victoria, que popularmente se interpreta como un Ángel de la Victoria. Este es el marco de la infancia de Walter Benjamin, quien más tarde expresará su visión de la historia con un otro ángel completamente distinto, el Angelus Novus de Paul Klee. (shrink)

An edition of three essays by the leading French philosopher and theorist Jacques Derrida on the ethical, political and linguistic issues posed by the act of 'naming'. Passions: An Oblique Offering is a reflection on the question of the response, on the duty and obligation to respond, and on the possibility of not responding - which is to say, on the ethics and politics of responsibility. Sauf le nom (Post Scriptum) considers the problematics of naming and alterity, or transcendence, raised (...) inevitably by a rigorous negative theology. Much of the text is organised around close readings of the poetry of Angelus Silesius. The final essay, Khora, explores the problem of space or spacing, of the word 'khora' in Plato's Timaeus. Even as it places and makes possible nothing less than the whole world, 'khora' opens, dislocates and displaces all the categories that govern the production of that world, from naming to gender. (shrink)

ABSTRACT The article deals with the early career of the literary critic Alberto Asor Rosa, one of the founders of the operaismo movement, a Marxist tendency advocating the management of factories by workers through bottom-up councils. It outlines the role he assigned to literature and culture, investigating his criticism first against the non-revolutionary cultural politics of the Italian Communist Party, notoriously through his book Scrittori e popolo and his writings for the periodical classe operaia, then identifying a transition from a (...) destructive approach against any culture based on values to the use of cultural disciplines purely as techniques. The article posits that this instrumental understanding of culture depended on Asor Rosa’s political choice to take the perspective of the working class, in order to use culture itself for social analysis. In the second half of the decade, contributing to the periodicals Angelus novus and Contropiano, he still considered culture ineffective as a way towards revolution, but he began to value the great works of ʻbourgeois’ literature for their ability to penetrate the middle-class spirit and undermine capitalist society. The article concludes that, despite his changing idea of culture, Asor Rosa’s opinions on the intellectual’s task fit the traditional concept of it. (shrink)

Der Aufsatz wendet sich Walter Benjamins Aquarell Vorführung des Wunders von Paul Klee zu, also jenem Werk, das bereits 1920 – ein Jahr vor der aquarellierten Ölfarbezeichnung des Angelus novus – in seine Sammlung gelangt. Wesentliches Element des Bildes sind die Liniengefügen, von denen sich die Figuren und der Schauplatz mitsamt schmaler Bühne absetzen. In der damaligen Kunstkritik und Ästhetik werden solche Konstruktionen aus Linien im Sinn eines Architektonischen verstanden, das heißt als ein das Bild konstituierendes Regime. Benjamin beschäftigt (...) sich mit entsprechenden Liniengebilden als Grundproblem der Malerei des Kubismus schon 1917 in Briefen an Gershom Scholem. Die dabei entstandenen Reflexionen bereiten gewissermaßen Benjamins Begegnung mit Klees Vorführung des Wunders und den sich dort zeigenden Liniengebilden vor. Die These lautet, dass Benjamin eine analoge, mittels Linie hergestellte Bildkonstruktion als Architektur begreift. Der Beitrag analysiert Benjamins Überlegungen zum Architektonischen im Verhältnis zur zeitgenössischen Kunstkritik und Ästhetik. (shrink)

El objetivo del presente artículo es múltiple. Primero, pondera una serie de razones por las cuales la mística aún es relevante para el análisis de la condición humana del hombre actual. Segundo, propone a la promesa y a la ausencia como dispositivos de la mística. Tercero, expone, desde la lectura que hacen Alois Haas y Amador Vega de algunos sermones alemanes del Maestro Eckhart y de El peregrino querúbico de Angelus Silesius, los planteamientos fundamentales de la mística de estos (...) autores, a saber: el vaciamiento del alma, el coengendramiento, el abismo de Dios y la unión mística. Al mismo tiempo esboza cómo el pensamiento de Eckhart y Silesius, además de ser estudiado, produce ecos en algunas de las formulaciones filosóficas más importantes del siglo XX. The aim of this article is multiple. First, it weighs a series of reasons for which mysticism is still relevant for the analysis of man’s current human condition. Second, it proposes promise and absence as the devices of mysticism. Third, it exhibits, according to the reading of Alois Haas and Amador Vega of some of Meister Eckhart’s German sermons and Angelus Silesius’ The Cherubic Wanderer, the fundamental expositions of these authors’ mysticism, namely: voidance of the soul, co-conceivement, God’s abyss and mystical union. At the same time it outlines how the thought of Eckhart and Silesius, besides being studied, produces echoes in some of the most important philosophical formulations of the 20th century. (shrink)

The lost opportunity is overwhelming, an exigence in the full sense—a recollection of that which can only remain forgotten. In the midst of the storm, what to do now? If this is the question with which Walter Benjamin began, in a poem published in 1910 under the pseudonym "Ardor," it is one over which he kept a solemn vigil, rarely letting it slip from view, even as the border closed in the months not long after he rendered Klee's 1920 painting, (...) Angelus Novus, into the emblem of a critique that seeks the "shard of weak messianic power" that comes to recognizability only in a history "filled full by now-time [Jetztzeit]" (2011, 22-23; 2003, 395). A hope then, a feeling that even as the storm from paradise blows .. (shrink)

This issue of Philosophy & Rhetoric, a somewhat rare double-issue, features significant and inspiring work that moves in a variety of directions and proceeds in a number of idioms, while also responding directly and indirectly to a complex exigence, though perhaps in a less familiar sense of the term, as what Giorgio Agamben calls a “messianic modality” that “coincides with the possibility of philosophy itself”—exigency as the expression of what remains unforgettable in the midst of all that is no longer (...) remembered for the sake of history’s progress. Appearing between contingency and necessity, exigency is not then a problem to be re-solved but the opening of a question; or more precisely, the epideictic expression of question-ability, the beginning of inquiry into what calls forth and perhaps even demands its possibility, for now.On what grounds do old questions stand? Through what power and by what happenstance are new questions found and formed? And when—in what kinds of moments do questions appear? With what force do they arrive? At what cost? What questions inflict violence? What violence thwarts a question? What do we (not) ask? How does the (un)questionable give way? Can multiple disciplines ever pose let alone inquire into the same question? What are the (de)constitutive elements of a good question? What does a good question do? Has pious genealogy corrupted the question? Does the discovery of a question remain one of the last “secrets,” the unhinged authentic insight about which little can or should be said?A century ago, announcing the launch of Angelus Novus, Benjamin reflected on the moment and contended that the “vocation of a journal is to proclaim the spirit of its age.” Such a task, in his view, demanded a strict “relevance to the present” even over “unity or clarity” and required exposing the “talented fakes” and resisting “the sterile pageant of new and fashionable events” that obscure how “impossible it is in our age to give a voice to any communality [Gemeinsamkeit].” It is a tall and certainly debatable order, one that Benjamin himself was unable to realize—Angelus never got off the ground. But perhaps the underlying insight remains, the basic importance of holding space for work that discerns and expresses the potential of question-ability.This potential may well be the spirit-breath of an age. And, for now, here and now, it may well be a pressing question—on the shore of Ontario’s Crawford Lake, waiting for official word that the Holocene has ended; in a largely unacknowledged transition, seemingly out of the pandemic’s worst, ramping back up to speed, and yet deeply uncertain about the next normal; in the midst of the two “wars” (a term to which all participating parties will not agree) that make the front page (or the top of the feed) and the many that do not, the grotesque surfeit of increasingly automatic-droning violence unfolding on the grounds of sanctified rage that makes it difficult to ask let alone grasp what violence is; at the gates of the university, where so much inquiry is supplanted with so many strategic plans, and academic freedom is slowly juridified to the advantage of legislatures eager to rewrite the mission; and, in the midst of the noisy quietude that thwarts so many of the small inquiries into well-being that weave the fabric of public life.It’s been a pleasure to work with all of those who have contributed to this issue of Philosophy & Rhetoric. Indeed, the pages that follow radiate with curiosity and insight. Together, they are an expression of inquiry in which question-ability remains unforgettable and there remains a moment to ask—after the question. (shrink)

Se trata de unareflexión interdisciplinar, a partir de W. Benjamin, sobre las relaciones entre experiencia, tiempo y memoriahistórica. La 1. parte analiza el empobrecimiento moderno de la Erfahrung que genera una“nueva barbarie”, a la vez que expenmentación innovadora, y que reclama un concepto más rico de experiencia, ligada ala totalidad concrete de la existencia. La 2. señala algunas paradojas de la memoria, muestra la inconsistencia del tiempo, cristalizado en el mito de Cronos, comoprincipio ordenador, y toma en consideración experiencias relevantes (...) que requieren concebir otro tiempo. En esa dirección, la 3. parte desarrolla la idea de Jetztze¡t, nucleo de la concepción crítica de la historia como tradición de los oprimidos, en cuyos bistantes de peligro relanipagea el angelus novus.Il s’agit d’une reflexion interdisciplinaire sur les liaisons entre expérience, temps et bistoire. La lére partie analyse l’appauvrissement moderne de l’Erfahrung, qui produit, selon W. Benjaniin, experimentation créatice et á la fois “une nouvelle barbarie”, et qui exige la construction d’un concept plus tiche d’expérience, liée á la totalité concréte de l’existence. La 2&me ¡nontre quelques paradoxes de la mémoire, sovligne ]‘inconsistance dv lemps comino principe d’ordre, et rappelle l’existence d’expériences qui demandent un autre concept du temps. La 3éme partie developpe ¡‘idee benjaininienne de Jetztzeit, noyau de sa conception critique de l’histoire conune tradition des opprimés, et analyse particuliérement la figure de l’angelus novus. (shrink)

Se trata de una reflexión interdisciplinar, a partir de W. Benjamin, sobre las relaciones entre experiencia, tiempo y memoria histórica. La primera parte analiza el empobrecimiento moderno de la "erfahrung" que genera una "nueva barbarie", a la vez que experimentación innovadora, y que reclama un concepto más rico de experiencia, ligada a la totalidad concreta de la existencia. La segunda señala algunas paradojas de la memoria, muestra la inconsistencia del tiempo, cristalizado en el mito de "cronos", como principio ordenador, y (...) toma en consideración experiencias relevantes que requieren concebir otro tiempo. En esa dirección, la tercera parte desarrolla la idea de "jetztzeit", núcleo de la concepción crítica de la historia como tradición de los oprimidos, en cuyos instantes de peligro relampaguea el "angelus novus. (shrink)

Tato stať je výrazně ovlivněna pronikavou intepretací Hegelovy Fenomenologie ducha, kte­rou pod titulem Hegelova fenomenologie světa předložila Tereza Matějčková. Stať vychází z otázky, co z hlediska časovosti dělá duch, který nahlíží rozum působící v dějinách, když tento rozum nahlíží jakožto věčně působící princip (motor) dějin. Duch nevyhnutelně zaují­má perspektivu konce dějin. Tuto perspektivu ale neinterpretuji jako pokus vystoupit z dějin, popírat jejich časovost či přehlížet právě probíhající přítomné dění. Neboť právě „nynějšek“ má duch poznat tak, že v něm kulminuje věčně (...) působící rozum. Z hlediska konce dějin či věč­nosti duch v přítomném poznává to věčně přítomné (totiž Rozum). K objasnění perspektivy konce dějin ji jednak krátce kontrastuji s Nietzscheho a Kantovým náhledem na konec dějin a jednak ji navrhuji připodobnit k „andělu dějin“, kterého viděl Walter Benjamin na obraze Angelus Novus a který zděšen z přítomného couvá zády k budoucnosti. (shrink)

My essay will take as its point of departure the paragraph from Gershom Scholem’s “Reflections on Jewish Theology,” in which he depicts the modern religious experience as the one of the "void of God" or as "pious atheism". I will first argue that the "void of God" cannot be reduced to atheistic non-belief in the presence of God. Then, I will demonstrate the further development of the Scholemian notion of the ‘pious atheism’ in Derrida, especially in his Lurianic treatment of (...) Angelus Silesius, whose modern mysticism emerges in Derrida’s reading as the ‘almost-atheism’. The interesting feature of this development is that, while for Scholem, the ‘void of God’ is a predominantly negative experience, for Derrida, it becomes an affirmative model of modern – not just Jewish, but more generally, Abrahamic – religiosity which, on the one hand, touches upon atheistic non-belief in the divine presence here and now, yet, on the other, still insists on commemorating the ‘withdrawn God’ through his ‘traces.’ What, therefore, for Scholem, constitutes the ultimate cry of despair, best embodied in Kafka’s work – for Derrida, reveals the more positive face of the modern predicament in which God has absented himself in order to make room for the creaturely reality. And while Scholem envisages redemption as the full restoration of the divine presence – Derrida redefines redemption as the ‘pious’ work of deconstruction to be undertaken in the ‘almost-atheistic’ condition of irreversible separation between God and the world. (shrink)