Aquesta publicació recull els textos de les ponències de "L'encontre Fora d'equi libri", organitzat pel Departament de Cultura i Mitjans de Comunicació els dies 5, 6 i 7 de setembre de 2008, que planteja el paper de la inestabilitat i la tra nsformació en el món contemporani. Les causes, els mecanismes i les conseqüèncie s d'estar fora d'equilibri apareixen de forma diversa en els més diversos àmbits de les ciències, les humanitats i la creació en general. L'encontre s'organitzàe n tres (...) sessions: "homo ecologicus", que reflexiona sobre el fer de manera respec tuosa amb l'ambient; "viure el canvi", que reflexiona sobre la necessitat d'adap tació a un món canviant, i "artistes al laboratori", que reflexiona sobre les co ndicions favorables al procés de creació. (shrink)

The juxtaposition between scholasticism and humanism is a commonplace in the scholarship of medieval political thought. Several scholars have argued that scholastic political theory is concerned with the institutional arrangements necessary for the well being of the city, while humanist political theory focuses on the role of the ruler in bringing about this well being. This paper argues that by looking at a much neglected text of the major scholastic figure St Thomas Aquinas, the De Regimine Principum, it can be (...) shown that he, like the humanists of his era, affords the ruler a central place in his political theory. Aquinas' adaptation of Aristotelian teleology, however, differentiates his theory from humanist political theory, allowing him to create the concept of a ‘scholastic ruler'. Specifically, Aquinas portrays the ruler as an artist, assigning him the roles of making the city, and making virtuous subjects. (shrink)

Mae Smethurst’s work has largely aimed to articulate nō theater in Western terms from their early roots, primarily through Aristotle’s On Tragedy. Her detailed examination of the shared structure of the content of these independent and superficially dissimilar arts reveals their mutual intelligibility and effectiveness through shared underlying universals. In this spirit, I outline how Zeami answers Plato’s first challenge to artistic performance, as expressed in Ion where Plato argues that rhapsody is not an art [techné] because it requires (...) no mastery. (Rhapsodes are instead vehicles of the divine.) This challenge to poetic performing arts, that is, to their claim to be arts at all, determines criteria by which we may judge any putative art, including sarugaku and its elevation to nōgaku. Though Zeami was unaware of Plato’s challenge, he nevertheless answers it in a way that brings Plato’s own assumptions and conceptual framework into relief. In this article I outline the first step of Zeami’s reply to Plato, how nō satisfies the criteria for mastery of a subject, with some help from zen master Dōgen. The focus of this article is twofold: 1) an examination of the ways Plato’s conception of a masterable subject entails metaphysical and epistemic tenets that may be revised or rejected in Buddhist tradition, and 2) a study of the means through which the sense of mindlessness that allegedly precludes rhapsody (and kamigakari) from qualifying as art (techné/michi) contrasts with the mushin and isshin of nō (and zazen). (shrink)

PREFACE It became clear to me in the past few years that any human quest or endeavor — whether it is in art, religion, business, politics, science, ...

In this paper I raise awareness of a crucial blind spot in scholarship on the Christian-Jewish dialogue. The main argument of the paper is that a closer examination of the dialogue form is necessary in order to assess the tenability of Christian-Jewish dialogue. Despite the widespread talk and intensive scholarship about the Jewish-Christian dialogue two things remain unclear: what concept of dialogue is presupposed; what makes the dialogue form appropriate for the Christian-Jewish encounter. This paper discusses the possibility that the (...) use of the dialogue form is a means of theological imperialism. I both rule out this possibility and propose an argument to justify the tenability of Jewish-Christian dialogue that I defend against objections which follow from Richard Swinburne’s Christian philosophy of revelation. (shrink)

The progressive art guide - an entirely new method of self-instruction on modern arts, shown in their progressive stages of completion is an unchanged, high-quality reprint of the original edition of 1888. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques (...) only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future. (shrink)

Comparo o poeta Charles Baudelaire e o filósofo Maurice Merleau-Ponty como críticos sociais da modernidade a partir do interior da sociedade moderna. Exploro a influência não reconhecida de Baudelaire sobre Merleau-Ponty como uma forma de reler a fenomenologia de Merleau-Ponty. Também examino a poesia de Baudelaire assim como seu ensaio “O pintor da vida moderna”. Embora o ensaio afirme ser uma análise da importância do pintor C. Guys, sustento que pode ser lido como autobiográfico - revelando uma consciência do poeta (...) enquanto crítico social da modernidade. Da mesma maneira, as caracterizações de artistas feitas por Merleau-Ponty revelam muito sobre a sua visão do papel do filósofo como crítico social. Pode-se ler a fenomenologia de Merleau-Ponty como uma arte em vez de como uma ciência das ciências. Finalmente, exploro as implicações políticas dessa fenomenologia baseada na estética. Sustento que há uma profundidade histórica revelada por essa arte fenomenológica do julgamento político que seria negligenciada por qualquer ciência política.I compare poet Charles Baudelaire and philosopher Maurice Merleau-Ponty as social critics of modernity from within modern society. I explore Baudelaire’s unacknowledged influence upon Merleau-Ponty as a means of re-reading Merleau-Ponty’s phenomenology. I examine Baudelaire’s poetry as well as his essay, The Painter of Modern Life. Though the essay claims to be an analysis of the significance of the painter C. Guys, I argue that it can be read as autobiographical - revealing a sense of the poet as social critic of modernity. Likewise, Merleau-Ponty’s accounts of artists reveal a great deal about his own view of the role of the philosopher as social critic. One can read Merleau-Ponty’s phenomenology as an art rather than as a science of sciences. Finally, I explore the political implications of this aesthetic-based phenomenology. I argue that there is an historical depth revealed by this phenomenological art of political judgment that would be neglected by any political science. (shrink)

Art, Ancient; art, modern; ethical and philosophical aspects; comparative study.

To the historian of art, it is evident that the two authors’ notion of ‘art’ is of very recent date, and not shared by everybody. They claim: ‘The purpose of art, surely, is not merely to depict or represent reality -- for that can be accomplished very easily with a camera -- but to enhance, transcend, or even to distort reality’ . They do not explain how one could photograph Paradise or Hell, the Creation of the World, the Passion of (...) Christ, or the escapades of the ancient gods -- all subjects that can be found represented in our museums. Nor is it more legitimate to generalize from certain Indian conventions of representing the female nude than it is for the academic tradition to take the Venus de Medici for the same purpose. Even a fleeting visit to one of the great museums might serve to convince the authors that few of the exhibits conform to the laws of art they postulate. [followed by response from V.S. Ramachandran]. (shrink)

Es geht um die Frage, welcher Begriffsapparat und welche Methode angemessen ist, um Geschichte als Teil der Lebenswirklichkeit des Menschen zu begreifen. Die dialektische Methode und die dazu gehörige Begrifflichkeit bietet sich hierfür an. Bei Hegel ist diese Methode jedoch mit einem problematischen Universalitätsanspruch verbunden. Dies hat zur Folge, dass er die Vorgeschichte der europäisch-abendländischen Staaten seiner Zeit als allumfassende Weltgeschichte betrachtet. Bei Marx wird einerseits nach den Grenzen der dialektischen Methode gefragt und andererseits werden bestimmte Differenzierungen im Geschichtsbegriff angebracht. (...) Er beschränkt sich auf die Geschichte der Klassengesellschaften und erwartet für die Zeit nach deren Aufhebung einen Geschichtstyp anderer Art. Dieser Ansatz lässt sich erweitern zu einer Typologie sozialer Evolutionen, von denen nur die Geschichte der Klassengesellschaften als Geschichte im engeren Sinn aufgefasst wird. In einem folgenden Schritt werden die Begrenzung der Dialektik mithilfe der Dekonstruktion der Hegelschen Philosophie durch Derrida und die Differenzierungen im Geschichtsbegriff mithilfe der Rekonstruktion des Historischen Materialismus durch Habermas weitergeführt. So entsteht eine Konzeption, in der die Dialektik als eine mögliche Form des Denkens von Differenzen aufgefasst wird, die geeignet erscheint, um als Methode für das Begreifen eines bestimmten Typs sozialer Evolution (Geschichte im Sinne von Geschichte der Klassengesellschaften) gebraucht zu werden. (shrink)