David Shoemaker has recently defended a response-dependent view of moral responsibility. We critically discuss some aspects of Shoemaker's view.

P.F. Strawson and his Philosophical Legacy aims to bring out the continuing relevance of Sir Peter Frederick Strawson’s (1919–2006) work for current philosophical debates. It is the first collection of essays published after Strawson’s death that covers the full range of his work. The focus in contemporary work on Strawson is often on his relation to Kant or his paper ‘Freedom and Resentment’. While this volume gives due attention to these topics, it also includes essays on Strawson’s lasting contributions to (...) the philosophy of language, metaphysics, epistemology, perception, moral philosophy, and philosophical methodology. The authors of this volume seek a balance between exegesis of Strawson’s work, critical engagement, and the study of subsequent developments. (shrink)

Strawsonians about moral responsibility often claim that our practices of holding morally responsible fix the facts of moral responsibility, rather than the other way round. Many have argued that such ‘reversal’ claims have an unwelcome consequence: If our practices of holding morally responsible fix the facts of moral responsibility, does this not imply, absurdly, that if we held severely mentally ill people responsible, they would be responsible? We provide a new Strawsonian answer to this question, and we explore the relation (...) between reversal claims and (in)compatibilism. (shrink)

This chapter contains an introduction by the editors of the volume P.F. Strawson and his Philosophical Legacy. First, the chapter describes Strawson’s life and gives a summary of his most important works, ranging from his early ‘On Referring’ to his latest book Analysis and Metaphysics. Secondly, it gives an overview of the contributions that appear in P.F. Strawson and his Philosophical Legacy. Lastly, a bibliography of primary and secondary sources is given. The aim of the chapter is to introduce the (...) reader to Strawson’s work and to facilitate the learning process of becoming acquainted with Strawson’s philosophical project. (shrink)

This volume offers a collective study of the work of P. F. Strawson (1919-2006) and an exploration of its relevance for current philosophical debates. It is the first book since Strawson's death to cover the full range of his philosophy, with chapters by world-leading experts about his lasting contributions to the philosophy of language, metaphysics, epistemology, moral philosophy, and philosophical methodology. It aims to achieve a balance between exegesis of Strawson, critical engagement, and consideration of the reception and continuing value (...) of his work. It explores the intellectual relations between Strawson and some of his predecessors and contemporaries and it will be an indispensable source for scholars and students of twentieth-century philosophy and its influence in the twenty-first. With contributions by Anne Bezuidenhout, Ian Rumfitt, Paul Snowdon, Quassim Cassam, Michelle Montague, Hans-Johann Glock, Anil Gomes, Lilian Alweiss, Giuseppina D'Oro, A.P. Martinich, Paul Russell, Lucy Allais, and Victoria McGeer. (shrink)

Kritische beschouwingen over wijsgerig-ethische kwesties.

In korte hoofdstukken vertelt de auteur hoe zij tegen heel veel zaken aankijkt die te maken hebben met ons leven op aarde.

Het idee dat burgerschapsonderwijs noodzakelijkerwijs democratisch is omdat ze door een democratische staat wordt georganiseerd, is een bedenkelijke assumptie. Veronderstellen dat goed burgerschap overigens beperkt kan blijven tot een reeks van ‘meetbare’ kenniscomponenten (bv. kennis van presidenten, koningen), overtuigingen (bv., ‘er zijn mensenrechten’) en ‘competenties’ (bv. ‘kunnen omgaan met meningsverschillen’) is niet enkel een karikatuur maken van de democratie zelf, maar getuigt evenzeer van een democratisch paternalisme.

Een veelgehoorde kritiek op islamitische scholen is dat kinderen er worden geïndoctrineerd en dat dit in strijd is met het doel van onderwijs in een democratische samenleving. Dit artikel onderzoekt de principiële vraag of ouders ervoor zouden kunnen kiezen om hun kind naar een school te sturen waar hij of zij geïndoctrineerd wordt, bijvoorbeeld omdat zij denken dat het kind op een religieuze school minder kans loopt te worden gestigmatiseerd. Daarnaast wordt bekeken of het waarschijnlijk is dat kinderen (...) op islamitische scholen in Nederland daadwerkelijk geïndoctrineerd worden. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Parrhesia first appeared in Greek literature in the fifth century BC. Essentially, parrhesia refers to being granted the liberty to speak freely and openly without being deemed insubordinate to someone of greater authority and could otherwise lead to punishment or death. Parrhesia allows one to speak truth to power, essentially benefiting the one in power who lacks insight into the truth of a situation. In his book, Filosoferen met kinderen op de basisschool: een complexe activiteit, Berrie Heesen describes how (...) doing philosophy with children is a form of parrhesia in that it encourages children to speak freely and openly. Parrhesia changes the adult/child relationship. Taken seriously by adults as full-fledged human beings creates a space for children to take themselves seriously while also being held responsible for what they think and feel. By giving reasons for their thoughts and feelings, and listening to those of their peers, children not only become critical listeners of others but also of themselves. They learn that what they think and feel matters — that they matter in the eyes of others and themselves, raising their self-esteem as well. In the process, children also develop their own touchstones of reality. Moreover, (self-) scrutiny is essential to feeling whole and grounded in who we are, giving us a sense of purpose and direction. (shrink)

Seks is overal. In kranten en tijdschriften, in advertenties op bushokjes, op televisie en het internet, op Instagram en Snapchat. Seks beheerst en betovert onze beeldcultuur. Af en toe roept die onafgebroken stroom van seksuele beelden kritiek op. We lezen over de ‘pornoficatie’ van onze cultuur en hoe de modeindustrie zelfs kinderen verleidt om sexy strings te kopen. We horen dat we aan porno verslaafd zijn, dat alles van waarde vervliegt en dat we steeds intensere prikkels nodig hebben. Een (...) zeldzame keer merkt iemand op dat de constante seksuele objectivering van vrouwenlichamen de genderongelijkheid in stand houdt. Als seks overal is, is het niet verwonderlijk dat seks ook in kunst te vinden is. Kunst en pornografie lijken elkaar uit te sluiten: het ene maakt het mooiste en het beste in ons wakker, het andere onderwerpt ons aan hitsigheid en dierlijkheid. Het ene viert de schoonheid van de vrouw, het andere is een kwestie van geweld en onderwerping. Toch is de relatie tussen kunst en pornografie genuanceerder dan ze op het eerste gezicht lijkt. In deze filosofische verkenning nemen filosofen Petra Van Brabandt en Hans Maes zowel kunst als pornografie onder de loep en ontdekken ze dat de dingen soms helemaal niet zijn wat ze lijken. (shrink)

Competition among scientists for funding, positions and prestige, among other things, is often seen as a salutary driving force in U.S. science. Its effects on scientists, their work and their relationships are seldom considered. Focus-group discussions with 51 mid- and early-career scientists, on which this study is based, reveal a dark side of competition in science. According to these scientists, competition contributes to strategic game-playing in science, a decline in free and open sharing of information and methods, sabotage of others’ (...) ability to use one’s work, interference with peer-review processes, deformation of relationships, and careless or questionable research conduct. When competition is pervasive, such effects may jeopardize the progress, efficiency and integrity of science. (shrink)

Quin tipus de teixit configura un diàleg de Plató? Què mostren els seus brodats? Què representa? Quina relació manté amb el coneixement i amb la seva transmissió? Aquest text respon en part a algunes d’aquestes qüestions a partir de dos passatges del diàleg anomenat Fedre en els quals Sòcrates utilitza el recurs del vel per construir els seus dos discursos. Es defensarà que comprendre què posa en joc el vel resulta fonamental per a entendre correctament la manera en què Sòcrates (...) parla amb el seu interlocutor i en la qual Plató confecciona el diàleg per als potencials lectors. L’objectiu principal d’aquest text és mostrar alguns dels trets essencials del dir platònic. (shrink)

In September 1931, a panel discussion was convened at Central Hall Westminsteron the subject of the ‘Evolution of the Universe’, at the centenary meeting of theBritish Association for the Advancement of Science. Center stage was what todo about the evolving universe being younger than the stars, evidently a paradoxin the relativistic study of the evolving universe, at the time. Here, we discusstwo diametrically opposed reactions to the paradox, which were each broadcastat the meeting by Lemaˆıtre and de Sitter, respectively. As (...) we argue, that bothcould be projected to the public as viable reflects an unsettled question at thefoundations of the then-nascent discipline: what is the role for considerationsof scale in relativistic cosmology? (shrink)

Careful examination of the arguments used in the De aeternitate mundi attributed to Boethius of Dacia shows that this is not a work of radical Aristotelianism, but a teaching text aimed at showing students how to approach the question of the eternity of the world in their disputations. A comparison of the text with some of the articles condemned in 1277 demonstrates that the articles do not originate from the text and that the work was not targeted by Tempier. What (...) is learned from the text about disputations on the eternity of the world is then used to show another way of reading these articles which is consistent with Tempier’s assertion that they were put forward by students during disputations and to some extent enables one to reconstruct the debates as they happened. This also shows how the students distorted the arguments of their masters for their own ends, which in turn suggests how the so-called ‘double truth’ may have been inspired by the De aeternitate mundi or a text like it. Finally, this helps explain the apparent reaction against the arguments used in the De aeternitate on the part of a number of philosophy teachers during the 1270s. (shrink)

Las siguientes páginas versan sobre la idea del Estado en la obra de José Ortega y Gasset, mostrando los cambios que en torno a aquella idea se producen en su pensamiento. En un primer periodo de mocedad, Ortega idealiza el papel de Estado influido por la tradición del pensamiento clásico y germano. En un segundo momento, a partir de la programática fecha de 1914, se producirá un giro en su pensamiento, quedando el Estado al servicio de la sociedad o la (...) realidad nacional, y por lo tanto en una posición “subalterna” frente a la posición dominante que Ortega le concedía en sus primeros años como intelectual. (shrink)

No texto começa-se por recordar a controvérsia em torno da existência da filosofia portuguesa que se sustenta consubstanciar-se na questão: "há ou não filosofias especificamente nacionais, a cada nação corresponde uma filosofia própria?". Para solucionar o problema, seria indispensável fixar de modo indiscutível as noções de filosofia e nação. Não se aceitando a intuição das essências, que daria de modo directo e imediato as referidas noções, e entendendo-se que conceitos verdadeiros só podem surgir fundados num sistema, tentou-se, apenas, formular definições (...) convencionais de filosofia e nação, para estabelecer relações inegáveis entre elas, o que poderia dar um contributo para a problemática das filosofias nacionais, na hipótese de tais definições serem exactas ou, pelo menos, terem encontrado defensores. Considerou-se filosofia uma concepção do mundo racional, e nação uma certa comunidade de homens ligados pela istória e, porventura, por uma linguagem própria. Se a cada nação correspondesse uma filosofia cair-se-ia no relativismo, que é insustentável. Se se perfilhasse o ponto de vista que a filosofia depende da linguagem, logo da nação, a resposta seria que a linguagem expressa o pensamento, não é o pensamento. Assevera-se que uma concepção racional do mundo é sempre universal e que uma certa comunidade é, a fortiori, particular. A relação entre filosofia e nação será pois a do universal com o particular. Não é lícito absorver a filosofia na nação, como se esta fosse o universal concreto, nem dissolver aquela num universal que, nessa altura, seria abstracto. O universal supera o particular, sem o destruir, estando numa relação dialéctica com ele. O universal é, assim, universalização do particular. Por consequência, a filosofia será nacional mas de um "nacional" que se saiba auto-ultrapassar. O momento nacional é somente um momento da filosofia, não a própria filosofia na sua universalidade. /// Le texte commence par rappeler la controverse autor de l'existence de la philosophie portugaise, dont on affirme qu'elle s'identifie avec la question "y a-t-il, ou non, des philosophies spécifiquement nationales? A chaque nation correspond une philosophie propre?". Pour apporter une solution à ce problème, il serait indispensable de fixer de façon indiscutable les notions de philosophies et de nation. Comme on n'accepte pas l'intuition des essences, qui fournirait de façon directe et immédiate les notions mentionnées et comme on pense que de vrais concepts ne peuveunt surgir que fondés en un système, on a seulement essayé de formuler des définitions conventionnelles de philosophie et de nation en vue d'établir des relations irrécusables entre elles, ce qui pourrait constituer un apport pour la problématique des philosophies nationales, dans l'hypothèse que de telles définitions sont exactes ou ont, pour le moins, rencontré des adeptes. On considère la philosophie comme une conception rationnelle du monde et la nation, une certainne communauté d'hommes liés par l'histoire et, en particulier, pour une langue propre. Si à chaque nation correspondait une philosophie, on tomberait dans le relativisme, ce qui est insoutenable. Si l'on partageait le point de vue d'après lequel la philosophie dépend du langage, par suite, de la nation, la réponse serait que le langage exprime la pensée, n'est pas la pensée. On assure qu'une conception rationnelle du monde est toujours universelle et qu'une communauté donnée est particulière. La relation entre philosophie et nation sera donc celle qui existe entre l'universel et le particulier. Il n'est pas licite d'absorber la philosophie dans la nation, comme si celle-ci était l'universel concret, ni dissoudre celle-là dans un universel qui alors serait abstrait. /// Is there or is there not a specifically national philosophy? To each nation is there a corresponding philosophy? To answer these questions, which are certainly pertinent to the controversy concerning the existence of a Portuguese philosophy, one should state clearly what can be meant by philosophy and nation. By eliminating the approach by which one imagines it possible to have immediate and direct intuitions of these notions and by considering that true concepts are those that can be founded within a system, an attempt has been made here to formulate conventional definitions of philosophy and of nation in the hope that these definitions could be conjugated and made more precise. The idea that there be at the same time a rational world and a particular rationality, belonging to a particular community of men bound together by a common history and language, has been judged illusory. If to every nation there were a corresponding philosophy, an unbearable relativism would prevail. If one were to maintain that philosophy depended on language, and thus a nation, then the response would be that while language expresses thought, language is not thought. It is not legitimate to assimilate philosophy to a nation, as if the latter were a concrete universal; in this sense, it would be simply abstract. The universal overcomes the particular without destroying it, for the relationship is dialectical in nature: the universal is thus the universalization of the particular. Therefore, philosophy in national if one considers national as that which is capable of overcoming itself; the national moment is only a moment of philosophy, and not philosophy as such in its universality. (shrink)

This paper focuses on the reception of Bertrand de Jouvenel’s Du Pouvoir in post-war America. I show how Jouvenel drew on a firmly established tradition of ‘aristocratic liberalism’ in French political thought, which in turn allowed him to develop a pessimistic outlook on modern Western political culture as inherently conducive to totalitarianism. This profound pessimism allowed Du Pouvoir, which fell relatively flat in France itself, to become a critical success in the Anglophone world. Jouvenel’s jeremiad resonated in particular with Cold (...) War warriors such as Friedrich Hayek. (shrink)

El presente artículo analiza los primeros escritos de Heidegger, en el contexto de sus orígenes católicos y antimodernos, a fin de mostrar en ellos una serie de aspectos característicos. La pretensión final consiste en poner de relieve los elementos valorativos y cosmovisionales que dirigen el pensamiento de Heidegger en sus inicios. De ese modo, se vuelve posible dejar planteada la pregunta de si dichos elementos no siguen jugando un papel decisivo, aunque menos visible ya, en toda la filosofía del primer (...) Heidegger. (shrink)

Dans une lettre à son épouse, Sade fait l'éloge de la bizarrerie et l’élève au rang de catégorie esthétique sous le nom de « principe de délicatesse ». Cela peut sembler paradoxal, comme l'a bien remarqué Michel Delon, que celui qui énonce le devoir de délicatesse est celui-là même dont le nom est devenu synonyme de brutalité. Le terme est en effet ambigu et possède dans l'oeuvre du marquis plusieurs sens: de l'échange de soins entre Juliette et sa maîtresse préférée (...) La Durand, en passant par une simple manie sexuelle, jusqu'à la fantaisie « la plus bizarre et la plus singulière de toutes », celle qui dépend d'une richesse fastueuse et qui ne s'achève que sur un tas de corps baignés de sang. Il s'agit d'abord d'examiner les différents sens du terme chez Sade ; puis d'analyser les interprétations que Roland Barthes, Annie Le Brun et Michel Delon donnent de la délicatesse scélérate ; enfin de mettre en évidence sa spécificité par rapport à la prodigalité luxurieuse. (shrink)

La complejidad de la Crítica de la razón pura comienza a disolverse al contemplar su gestación desde los textos precríticos. Este artículo analiza la evolución de los “conceptos” de espacio y tiempo en los textos anteriores a la Crítica. Con ello se logran dos cosas: la primera, facilitar la lectura de la Crítica de la razón pura y la segunda demostrar que la reflexión que guía el comienzo de la filosofía trascendental no es otra que la fundamentación filosófica de la (...) física. (shrink)

Partiendo de una reflexión sobre los distintos modos de nombrar el seguimiento de Cristo y de algunas de las principales formas en que se ha concretado en el Ife del cristiano a lo largo de la historia (martirio, vida monástica, vida contemplativa, vida activa, etc.), llegamos a las Sociedades de Vida Apostólica, como un camino original y genuino, cuya primera manfestación se encuentra en el Oratorio de San Felipe Neri. En las dos notas siguientes (pp. 579-602 y 603-618) se hace (...) una breve descripción histórica sobre este peculiar santo, señalando, al mismo tiempo, los rasgos más distintivos de su espiritualidad y de su obra. (shrink)

Las formas de pensar la dominación social han cambiado durante las últimas décadas en la teoría política, dejando atrás esquemas diádicos con centros de poder definidos. En este artículo comparamos autores de la nueva lectura de Marx, la crítica del valor y la interseccionalidad, que han ayudado redefinir la dominación social durante las últimas décadas complejizando los paradigmas que las preceden, el marxismo tradicional y el feminismo negro, respectivamente. El artículo analiza el concepto de dominación social de estas nuevas lecturas (...) de Marx atendiendo a las críticas que la interseccionalidad ha dirigido contra el marxismo tradicional. Así mostramos las posibilidades de diálogo entre estos enfoques, pero también las innegables dificultades que existen. (shrink)

El texto presenta algunas consideraciones acerca de las principales relaciones que se establecen en el momento presente entre la ética, la política y la educación, tres dimensiones fundamentales e interrelacionados en la existencia humana, analizándolas en su expresión en las circunstancias características de los ámbitos socioeconómico, político y cultural. A partir del análisis de estas interrelaciones, se pretende delinear algunas propuestas para una convivencia armónica y respetuosa entre los seres humanos en el siglo XXI, a través de una formación ciudadana (...) que posibilite la convivencia multicultural y el acceso a una auténtica sociedad del conocimiento. En este sentido, se examinan algunos de los dilemas y demandas éticos para alcanzar dichas formas de organización social ideales.The text presents some considerations about main relations that are established in the present moment, between ethics, politics and education, three essential and related dimensions in human existence, analyzing it in its characteristics expressions in the social, economic, cultural and political fields. Starting from the exam of those relations, it pretends to outline some proposals in order to get a harmonious and respectful coexistence between human beings in the XXI century, through a civic formation that makes possible multicultural coexistence and the access to an authentic knowledge society. In this sense, it examines some of the ethical dilemma and requests in order to access those ideal social organizations forms. (shrink)

Nuestro ensayo La erótica platónica busca ampliar la comprensión del concepto de Eros en Platón a partir del diálogo del Banquete. Buscamos presentar una visión genealógica sobre el origen, la aparición e importancia del concepto y su emoción sentimental en el contexto de la cultura griega en general y del mundo socrático, en lo particular, que nos presenta la visión platónica de la filosofía. A partir de los distintos personajes que conforman la obra, su autor nos va presentando distintas significaciones (...) del eros o amor para cada uno de ellos. Podemos comprender la visión del significado del tema en cuestión desde las vertientes poética, pedagógica, médica, mítica, sexual y filosófica. Esta última desplegada en la postura de Sócrates al referir la importancia que tuvo una mujer, Diotima de Mantinea, en su formación y comprensión del hecho erótico, tanto para su vida como para su visión de la filosofía. Al final del diálogo notaremos una descripción algo desbordada que da el discípulo socrático, Alcibíades, de su maestro y llegamos a comprender que la filosofía es un ejercicio amoroso por el deseo (carencia) del saber en el hombre y que el filósofo, a diferencia del hombre sabio que no busca ningún saber porque ya lo posee, será un entusiasta y enamorado permanente de la filosofía por sentir que su ser requiere una permanente búsqueda del conocimiento de sí gracias al lema socrático del conócete a ti mismo . On Plato`s erotic. An interpretationOur Platonic Er otic essay seeks to broaden the understanding of the concept of Eros in Plato's dialogue Banquet . We seek to present a genealogy of the origin, occurrence and importance of the concept and its sentimental emotion in the context of Greek culture in general and the Socratic world, in particular, that presents the Platonic view of philosophy. From the various characters that make up the work its author presents different meanings of Eros or love for each of them. We can understand the vision of the meaning of the subject matter from different perspectives: poetic, educational, medical, mythical, sexual and philosophical. The latter displayed in the position of Socrates in reference to the importance that a woman, Diotima of Mantinea, had in his training and understanding of the erotic fact, both for her life and her vision of philosophy. At the end of the dialogue there is a description -somewhat overwhelmed- of his teacher given by Alcibiades, the Socratic disciple. We then understand that philosophy is a loving exercise by desire of knowledge in man (lack of); thus the philosopher, unlike the wise man, who seeks no further knowledge because it already has it, will be an enthusiastic and permanent lover of philosophy since he feels that his being requires an ongoing search of self-knowledge by means of following the Socratic motto know thyself. (shrink)

O objetivo do estudo foi investigar a prevalência e motivos do uso de álcool, tabaco e outras drogas por acadêmicos. A amostra foi composta por 560 estudantes, entre 17 e 74 anos ( M = 31,16, DP = 11,10). As substâncias com maior prevalência de uso na vida foram álcool e tabaco. Dentre as drogas ilí..

La conscience, par laquelle nous sommes présents au monde, emprunte à notre corps la triple forme des dimensions spatiales que Descartes appelait „longum, latum et profundum” ; la diversité de ces dimensions est due à la manière plus ou moins intégrale dont l'être humain s'engage dans cette présence. I. En effet, l'engagement peut se limiter à la connaissance contemplative, c.-à-d., la connaissance qui ne passe pas aux actes. L'appareil imaginaire qui sert de symbole pour exprimer cette conscience d'autrui et du (...) monde, est emprunté aux gestes peu engagés des mains et des bras, au mouvement horizontal des yeux, le reste du corps étant plus ou moins impassible. Cette manière d'être présent constitue la dimension horizontale de la largeur, dimension qui correspond avec la largeur du corps, des bras étendus, de l'horizon. L'engagement devient plus intégral quand je fais l'effort de redresser mon corps, quand je me lève pour me mettre au travail et pour surmonter les difficultés qu'implique toute réalisation technique : ici, la présence au monde n'est plus seulement connaissance elle devient, dans et par le travail, emploi des moyens et maîtrise du monde. Par cette présence plus engagée et plus complexe, la conscience constitue une seconde dimension, celle de la hauteur qui vient s'ajouter à la largeur. L'effort que je dois faire pour acquérir ou créer une valeur est comparé avec l'effort à réaliser quand je redresse mon corps ; on compare la valeur du travail et l'effort de se lever. La quantité d'argent qui représente la valeur du travail ou d'un objet est un salaire ou un prix qui „monte” ; il permet de „monter” sur l'échelle sociale, de „subordonner” autrui. Cependant, l'être de la contemplation et de l'emploi des moyens est tel que ceux-ci ne trouvent pas leur sens en eux-mêmes ; ils renvoient à la présence qui entraîne la complexité totale de la personne humaine, au sens que l'homme cherche par la totalité de son engagement. L'attention à la vie, l'inclination vers le bien qui nous attire constitue une troisième dimension, celle du lointain. Le geste du corps qui représente cette attention est la marche en avant ; il est entamé par la „conversion”, le geste de l'homme qui détourne la face de ce qu'il déteste, pour la diriger vers ce qui l'attire il se prolonge dans le rapprochement, le mouvement qui fait disparaître les distances. II. La réflexion sur la structure respective des ces dimensions peut nous aider à mieux entrevoir le sens et la structure du langage humain. En effet, celui-ci est un comportement, un ensemble structuré de mouvements corporels : les modifications du visage, les mouvements du bras, la ligne des attitudes corporelles sont les gestes par lesquels l'intériorité, la transcendance ou l'intentionalité de l'homme se fait être-avecautrui. Le langage n'est pas seulement moyen de communication ; il est encore accès à l'intériorité et à la transcendance d'autrui. On devient homme en apprenant à structurer les mouvements corporels qui constituent le langage. III. Ceci ne veut pas dire qu'en analysant le langage on explore la totalité de l'être humain. La vie elle-même, dans laquelle les dimensions corporelles trouvent leur origine et à la laquelle elles doivent leur constitution, ne parvient jamais à exprimer dans le langage la totalité de ce qu'elle est. Mais dans l'analogie croissante des concepts et des gestes, attestée par l'histoire de la langue et de la culture humaine, elle montre une tendance constante à l'intériorisation et à la transcendance. (shrink)

Les recherches linguistiques, quelle que soit leur méthode, comportent toujours un élément de réflexion. Dans la ligne du livre remarquable de Denis Vasse, Le temps du désir, cet article veut contribuer à la réflexion sur „l'origine de la parole”. En effet, la conscience de notre corps ne manque pas de nous révéler des résidus de la vie inconsciente qui est à l'origine des structures de notre corps et du „corps subtil” qui est notre langage. Ces résidus sont e. a. les (...) trois dimensions corporelles , qui manifestement trouvent leur origine dans les trois phases de l'évolution psychique , et qui constituent trois formes de symbolisation appelées respectivement „expression”, „communication” et „signification”. L'„expression” est le corps subtil que l'enfant qui vient au monde donne en échange de tout ce qu'il reçoit de la mère. Par cet échange, la vie, commencée dans le sein maternel, prend l'aspect plus humain d'une présence réciproque. Mais la séparation de la naissance entraîne avec elle une menace constante de la mort, qui est - déjà plus humaine qu'une désintégration purement biologique des cellules vivantes - la déreliction, la détresse de l'enfant nécessiteux. Dans cette phase psychique, la conscience naissante ébauche une première structure d'elle-même : celle de la distinction entre l'intêrieur et l'extérieur ; l'homme ne cessera jamais de se considérer imaginairement comme le centre d'un monde qui l'entoure et dont il est la raison il'être. Et la dimension corporelle qui correspond à cette imagination, est celle du mouvement horizontal, le mouvement produit par les bras et les yeux. Puisqu'il ne fait encore que consommer, l'enfant commence par „com-prendre”, „saisir” la présence de l'autre. Le passage de l'„expression” à la „communication” va de pair avec la transition à la phase anale. L'enfant, par des jeux primitifs comme celui du „fort” et „da” , a appris à accepter une séparation plus longue de la mère, ou plutôt à refouler l'angoisse devant la menace de la mort, qui était la dereliction. Le temps où il apprend à se tenir debout et à retenir la défécation, est aussi le temps où sa conscience naissante s'ouvre à la concurrence de frère et de soeur , surtout à celle du père : la possession de la mère doit être partagée. Ce ne sont plus seulement les cris qui servent de corps subtil pour réaliser la présence réciproque ; celle-ci s'acquiert maintenant par le tenue du corps. La tenue du corps est le langage primitif qui est en fait une „communication” ; il fait trouver le moyen de relâcher encore le cordon ombilical et d'accepter la concurrence d'autres possesseurs de la mère, tout en éloignant l'angoisse de perdre celle-ci. L'objet de l'angoisse se déplace maintenant vers le danger de tomber, de faillir dans la maîtrise du corps et de subir amèrement l'humilitation de l'impuissance. La tension inconsciente, produite par cette angoisse, fair surgir une nouvelle dimension imaginaire : l'opposition entre le haut et le bas. L'effort que demandera toujours la construction de cette dimension verticale , continuera à servir d'étalon dans l'évaluation de tout ce qui demande de l'effort¹, en particulier le travail et la réalisation technique. Pour cette raison il est normal de dire que les salaires et les prix „ montent" — non pas qu'ils augmentent -; pour la même raison le fruit de l'effort, la puissance ou la sécurité, est symbolisé par un siège : le thrône du roi, le siège du président, la chaire du professeur, le siège aussi d'une ville, la pos-session du domaine. Il faut une troisième naissance pour que le langage de l'enfant passe enfin à la forme spécifiquement humaine de „signification”. Apprendre à parler, c.-à-d. à donner aux cris jusque là désordonnés, le „sens” de l'articulation, de l'ordre consécutif, c'est découvrir un monde qui dépasse de loin la présence de la mère et du père. Ce monde est „un relais qui vient s'interposer entre corps et le corps de l'autre ” . Le passage à la „signification” interfère d'ailleurs avec la phase phallique et encore avec l'éclosion du „je” comme sujet. L'ordre articulé des mots qui se suivent engendre la signification, précisément parce qu'il permet à autrui de „suivre” la pensée ; il est aussi symbole de la vie qui doit être une conduite ordonnée. En tant que tel il permet de refouler l'angoisse devant de désordre moral, la conduite désordonnée et devant le blâme ou la réprobation qui en seront la conséquence. En imaginant les projets d'une conduite future , la conscience se projette littéralement en avant et elle crée la troisième dimension, celle du lointain et du proche. Elle prend ici enfin la forme spécifiquement humaine de ïintentionalité, dirigée vers un paradis lointain qui tiendra la place de celui qu'elle vient de perdre. Pourquoi l'intentionalité est-elle spécifiquement humaine ? Parce qu'il est propre à l'essence humaine de chercher le sens de la vie et d'être déjà responsable de ce que cette vie pourra devenir plus tard. Or, c'est là aussi la structure du langage : une proposition, une phrase ne se construisent pas sans être prévues d'avance ; elle ne sont compréhensibles que quand la suite des vocables présente un ordre acceptable par les autres et une cohérence suffisamment logique ; et cependant cet ordre peut être si spécifiquement personnel, qu'il devient une parole authentique, nouvelle lorsque le sens en est cherché et créé par moi. Il s'ensuit que chercher l'origine de la parole, c'est chercher aussi le sens de l'existence humaine : par sa structure la parole reproduit l'histoire humaine et évoque le destin de l'homme. (shrink)

O estudo do estado de exceção, paradoxo central da política moderna, é objeto da análise de diferentes vertentes conceituais que envolvem o poder soberano e o seu exercício. Sua prática tem importantes consequências para as Relações Internacionais, como no caso de refugiados, que muitas vezes se encontram à margem do amparo legal estatal por sua singular situação, carentes do exercício da cidadania e liberdade para agirem como agentes políticos transformadores do meio social. Este artigo propõe um delineamento de teorias político-filosóficas (...) sobre o tema, que perpassa o pensamento central de pensadores fundamentais para se entender o poder e a exceção, como Carl Schmitt, Walter Benjamim, Michael Foucault e Giorgio Agamben. Deste modo, faz-se uma reflexão de como os conceitos de poder constituinte, amigo e inimigo, discurso da verdade, contingência, mecânica do poder e vida nua ajudariam a explicar o refugiado e a sua condição limite ante à excepcionalidade no âmbito das Relações Internacionais. Esse desencadeamento teórico tem por objetivo compreender o exercício do poder de exceção usado como tática aplicada para adestrar a vida humana em sociedade, inserindo-o nas definições de biopoder e biopolítica, especialmente quando do exame das circunstâncias envolvendo os refugiados. (shrink)

t. 1. La déduction transcendentale avant la Critique de la raison pure.--t. 2. La déduction transcendentale de 1781 jusqu'à la deuxième édition de la Critique de la raison pure (1887).--t. 3. La déduction transcendentale de 1787 jusqu'à l'Opus postumum.

Godenschemering van Daniël de Waele is een theologische cultuurgeschiedenis die de evolutie van het geloof in God uitdiept in de loop der tijd. Israël ontdekte in een polytheïstische wereld de Ene God, die door de tijd heen steeds humaner werd en dichterbij kwam. Hoe is het geloof na die grote stap geëvolueerd? Hoe past het verdampen van het geloof, dat uiteindelijk eindigde in de dood van God, in deze evolutie? En welke rol heeft het bestormen van de godenbeelden gespeeld? De (...) Waele ontwaart naast deze geloofsevolutie een andere geschiedenis: een blijvende zoektocht naar de ene God. (shrink)

Hegel critica la falta de consecuencia de la teología cristiana tradicional por hacer de Diosalgo inaccesible, abstracto, desligado de la realidad finita, y por aceptar la facticidad de laconciencia religiosa como una postura alienada, que no lucha por la transformación de larealidad. Pero la racionalización de la fe cristiana introducida por el reduccionismo deHegel es desenmascarada por la teología consciente de que el discurso de la filosofía sobrela religión elimina el elemento de misterio y relación interpersonal que es constitutivo dela (...) experiencia religiosa cristiana. La fe cuestiona todo discurso sobre Dios. (shrink)