Tales de Mileto (VII–VI a.C.), además de ser uno de los siete Sabios, es considerado el primer filósofo precisamente por haber sido el primero en intentar dar razón de la estructura y formación del universo. El punto nuclear de la tesis de Tales afirmaba que el agua es el principio o materia originaria de la que han surgido todas las realidades que componen el variopinto y complejo tejido cósmico. A esta tesis, que hoy bien pudiera parecer extravagante, (...) le cabe el mérito y el privilegio de haber sido el motor que puso en movimiento un conjunto de inquietudes, de recursos y de métodos, de base racional, encaminados a dar respuesta a cuestiones que los seres humanos venían planteándose desde la misma noche de los tiempos. En qué medida y en qué sentido Tales de Mileto es deudor de creencias, instrumentos y saberes de su entorno (las ciudades griegas de las costas turcas del Egeo), incluidos los procedentes del este (Mesopotamia) y del Sur (Egipto), en qué medida fue Tales un innovador radical, son cuestiones que serán abordadas en este artículo. (shrink)

A grande revolução filosófica arquitetada pelo Alvissarismo está justamente na descoberta fundamental dos juízos analíticos a posteriori; desde Kant, não houve sequer um único filósofo com coragem o bastante para questionar a ideia de que todo juízo de experiência é sintético e que todo juízo analítico é a priori, com exceção de Saul Kripke, que foi pioneiro ao revelar ao mundo a existência do necessário a posteriori e do contingente a priori, corroborando a nossa tese sobre a existência dos juízos (...) analíticos a posteriori; esta foi, pois, a grande ruptura causada pela Filosofia Alvissarista, que, através da pergunta “existem juízos analíticos a posteriori?” causou uma revolução sem precedentes na história da filosofia. O mais importante aqui não é nem a resposta dada pelo Alvissarismo a esta pergunta, mas sim a própria pergunta, posto que ela rompe de uma vez por todas com a filosofia Kantiana, que fundou as bases da filosofia moderna através da negação da revelação. O Alvissarismo dá, portanto, início a uma nova era na história da filosofia, uma era onde na filosofia é possível a revelação, onde é possível existir uma filosofia unificada à mitologia e à religião, como um retorno à filosofia pré-talesiana, isto é, uma filosofia antes do surgimento de Tales de Mileto, que separou a filosofia da religião através da proposição “a água é a origem de todas as coisas”. (shrink)

O presente texto tem como finalidade sumarizar o modelo cognitivo de Joshua Greene, que tende a perceber as decisões morais influenciadas tanto pelos processos automáticos como também pelos processos manuais, que nos dizem o que fazer, mas que também tencionam entre interesses individuais e coletivos, ou seja, tribalistas. No geral, a pesquisa de Greene, segue e apoia a afirmação de que a razão não é causa suficiente para o juízo ou comportamento moral - a emoção jaz na estrutura.

Este texto propõe uma crítica da tecnologia conforme abordada na narrativa pós-natureza do antropoceno. Para essa narrativa, também chamada de pós-ambientalismo, o antropoceno é o momento histórico em que fica clara a impossibilidade de uma noção idealizada da natureza, distinta da intervenção humana. Neste texto, argumenta-se que, embora tenha méritos no questionamento de aspectos cruciais do pensamento moderno, essa narrativa tem também problemas teórico-conceituais significativos derivados da centralidade atribuída à mediação técnica, que acaba convertendo-a em uma espécie de metafísica. A (...) exposição das teses da narrativa pós-natureza do antropoceno se dá a partir do diálogo com textos de ativistas do pós-ambientalismo, como Michael Shellenberger e Ted Nordhaus, e de pensadores que fornecem a essa corrente o fundamento teórico-conceitual, como Bruno Latour e Peter Sloterdijk. A crítica se ampara na argumentação dos filósofos contemporâneos Dieter Mersch e Andreas Luckner, que desdobram ideias já sinalizadas por Martin Heidegger e indicam caminhos para compreender os limites de perspectivas metafísicas sobre tecnologia. (shrink)

This article states that, with his narrative, the author of Daniel 6 creates the presence of Elohim outside Jerusalem and Israel, within non-Israelite environments. Applying a body-space frameset to the texts of Daniel 6 helps to read the text as a construction of concepts. With his narrative the author creates the presence of Elohim outside Jerusalem and Israel, within non-Israelite environments. Furthermore, a spatial frameset shows that the story of Daniel 6 can be read as a conclusion to a larger (...) narrative that stretches from Daniel 1–6. In this narrative the author utilises spatial concepts such as the character of Daniel; the lion’s den; Jerusalem and King Darius, to establish the omnipresence of the God of Israel. In constructing this presence of-God reality the author conveys a message of hope and trust in the authority of the God of Israel. In this regard Daniel 6 is not just a story about the character Daniel being persecuted for his faith; rather it is a story about the God of Israel establishing his presence and his ability to act through and within space and time. (shrink)

O presente artigo tem como ponto central analisar, com base nos trabalhos de Michel Foucault, a respeito do Poder Disciplinar em sua atuação na área educacional, especificamente, no Ensino de Filosofia, cujo objetivo é especular sobre o referido poder, presente nas instituições de ensino. Para tratar dessa questão, que envolve o Poder Disciplinador no desenvolvimento no Ensino de Filosofia, será utilizada a metodologia da pesquisa direta bibliográfica. Nossa trabalho será desenvolvido em dois momento singulares a ideia geral sobre o poder (...) no filósofo Michel Foucault e, posteriormente, pensar o desenvolvimento do Poder Disciplinar em relação com a Educação e, consequentemente, o Ensino de Filosofia. Esse caminho acredita-se que chegará a uma compreensão do Poder Disciplinar dentro do Ensino de Filosofia, trazendo elementos e questões que contribuam na construção do sujeito pensante, seja em sua vida individual ou uma vida social, e que esse indivíduo possa transformar a sociedade. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eichmann, Empathy, and LolitaLeland de la DurantayeISometime in late 1960 or early 1961 Adolf Eichmann, jailed and awaiting trial in Jerusalem, was given by his guard a copy of Vladimir Nabokov's recently published Lolita, as Hannah Arendt puts it, "for relaxation." After two days Eichmann returned it, visibly indignant: "Quite an unwholesome book"—Das ist aber ein sehr unerfreuliches Buch—he told his guard. 1 Though we are not privy to, (...) and nor does Arendt speculate upon this officer's intentions, it is difficult to imagine that they were limited to procuring Eichmann a little "relaxation." The tale of a homicidal madman writing under observation and awaiting a trial that will consign him either to death or prolonged imprisonment—which fate spares him by felling him with a heart attack—could hardly have been very relaxing for someone at that moment writing his own memoirs and himself awaiting a trial with similar stakes.We might imagine other intentions on the part of Eichmann's guard. Could the gesture have been ironic? Or was it motivated by a dark curiosity—something of the order of an experiment? The sulphurous halo of Nabokov's book was still burning brightly in the popular consciousness of 1960. 2 Might Eichmann's guard have seen Lolita as a sort of litmus test for radical evil, and wanted to see whether the real-life villain—he who impassively organized the transport towards certain death of countless innocents—would coldly, even gleefully, approve the various and vile machinations of Nabokov's creation?This is all only speculation. In Arendt's account, she congratulates Eichmann for his indignation and moves on to other matters. In any event, given Eichmann's radical conventionality one could hardly imagine him liking—or even very well understanding—much of the book. As [End Page 311] Eichmann himself avowed, during his adult life he had read only two books, one of them being Theodor Herzl's The Jewish State. But whatever the motivations of Eichmann's guard, whatever Eichmann's degree of comprehension, and whatever congratulations Eichmann might have deserved for his disgust, the incident raises a question for the study of Nabokov's finest work which has yet to be answered.IIBefore turning to this question, let us remain with Arendt and her notorious reader for a moment. Arendt notes elsewhere that it appeared to her that Eichmann was nearly "aphasic." She comments that, "when he did succeed in constructing a sentence of his own, he repeated it until it became a cliché," and that, "his inability to speak was closely connected with an inability to think, namely, to think from the standpoint of somebody else." Arendt offers here nothing less than a definition of thought itself. "To think" is glossed ("... namely") by Arendt as, "to think from the standpoint of someone else." Though as a definition of thought, it is hardly impressive, it nevertheless expresses something essential about Arendt's conception of thought and thinking. (3) In her view, thought is to be placed under the sign of intellectual empathy, under the sign of living in the strangeness and wonder of another's world. (Though Arendt does not mention the connection, both the language she wrote Eichmann in—English—and her native one—German—make special provision for such a sense, as he or she who is "thoughtless" is not her or she who is incapable of some form of cognition or calculation, as "thoughtless" people can indeed be very clever and very clever people have been capable of great "thoughtlessness.")Thought is thus a communal, not individualistic, thing. 4 This point is important as, though Adolf Eichmann was unlikely to have seen much of himself in the irreverent and urbane genius of Nabokov's Humbert Humbert, nor in the latter's strange eloquence, Eichmann the man and Humbert the character of the first part of the novel (to leave the repenting Humbert of the book's last pages out for the moment), share an essential trait. What Eichmann the man shares with Nabokov's literary creation is the inability or unwillingness "to think from the standpoint of somebody else." The evil they share is the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eichmann, Empathy, and LolitaLeland de la DurantayeISometime in late 1960 or early 1961 Adolf Eichmann, jailed and awaiting trial in Jerusalem, was given by his guard a copy of Vladimir Nabokov's recently published Lolita, as Hannah Arendt puts it, "for relaxation." After two days Eichmann returned it, visibly indignant: "Quite an unwholesome book"—Das ist aber ein sehr unerfreuliches Buch—he told his guard. 1 Though we are not privy to, (...) and nor does Arendt speculate upon this officer's intentions, it is difficult to imagine that they were limited to procuring Eichmann a little "relaxation." The tale of a homicidal madman writing under observation and awaiting a trial that will consign him either to death or prolonged imprisonment—which fate spares him by felling him with a heart attack—could hardly have been very relaxing for someone at that moment writing his own memoirs and himself awaiting a trial with similar stakes.We might imagine other intentions on the part of Eichmann's guard. Could the gesture have been ironic? Or was it motivated by a dark curiosity—something of the order of an experiment? The sulphurous halo of Nabokov's book was still burning brightly in the popular consciousness of 1960. 2 Might Eichmann's guard have seen Lolita as a sort of litmus test for radical evil, and wanted to see whether the real-life villain—he who impassively organized the transport towards certain death of countless innocents—would coldly, even gleefully, approve the various and vile machinations of Nabokov's creation?This is all only speculation. In Arendt's account, she congratulates Eichmann for his indignation and moves on to other matters. In any event, given Eichmann's radical conventionality one could hardly imagine him liking—or even very well understanding—much of the book. As [End Page 311] Eichmann himself avowed, during his adult life he had read only two books, one of them being Theodor Herzl's The Jewish State. But whatever the motivations of Eichmann's guard, whatever Eichmann's degree of comprehension, and whatever congratulations Eichmann might have deserved for his disgust, the incident raises a question for the study of Nabokov's finest work which has yet to be answered.IIBefore turning to this question, let us remain with Arendt and her notorious reader for a moment. Arendt notes elsewhere that it appeared to her that Eichmann was nearly "aphasic." She comments that, "when he did succeed in constructing a sentence of his own, he repeated it until it became a cliché," and that, "his inability to speak was closely connected with an inability to think, namely, to think from the standpoint of somebody else." Arendt offers here nothing less than a definition of thought itself. "To think" is glossed ("... namely") by Arendt as, "to think from the standpoint of someone else." Though as a definition of thought, it is hardly impressive, it nevertheless expresses something essential about Arendt's conception of thought and thinking. (3) In her view, thought is to be placed under the sign of intellectual empathy, under the sign of living in the strangeness and wonder of another's world. (Though Arendt does not mention the connection, both the language she wrote Eichmann in—English—and her native one—German—make special provision for such a sense, as he or she who is "thoughtless" is not her or she who is incapable of some form of cognition or calculation, as "thoughtless" people can indeed be very clever and very clever people have been capable of great "thoughtlessness.")Thought is thus a communal, not individualistic, thing. 4 This point is important as, though Adolf Eichmann was unlikely to have seen much of himself in the irreverent and urbane genius of Nabokov's Humbert Humbert, nor in the latter's strange eloquence, Eichmann the man and Humbert the character of the first part of the novel (to leave the repenting Humbert of the book's last pages out for the moment), share an essential trait. What Eichmann the man shares with Nabokov's literary creation is the inability or unwillingness "to think from the standpoint of somebody else." The evil they share is the... (shrink)

Nuestra hipótesis consiste en considerar la alegría como fruto del dinamismo interpersonal entre Dios y el hombre bajo la figura de la nupcialidad, cuyas notas de reciprocidad, exclusividad, intimidad y fecundidad especifican esta dimensión particular de vida teologal. Al desplegarse en la historia, la nupcialidad adquiere una tensión escatológica pues el diálogo amante de libertades intensifica la presencia recíproca de Dios y el hombre hasta desembocar en una radicalidad que puede conducir al martirio. Tales fueron los casos de dos (...) místicos y mártires contemporáneos, Christophe Lebreton y Edith Stein, cuyos textos testimonian que la alegría se manifiesta como un fruto visible de la entrega definitiva de sus cuerpos. Our hypothesis is to consider joy as a result of the interpersonal dynamics between God and man under the figure of marriage, whose traits of reciprocity, exclusivity, intimacy and fecundity give a distinctive specifity to this particular dimension of theological life. As it unfolds in history, nuptiality develops an eschatological tension, as the loving dialogue of freedoms intensifies God and man's mutual presence, leading to a radicality which can usher into martyrdom. Such were the cases of two contemporary mystics and martyrs, Christophe Lebreton and Edith Stein, whose texts testify that joy is manifested as a visible fruit of the final offering of their bodies. (shrink)

In Denmark, teaching the famous fairy tales of Hans Christian Andersen poses a challenge in primary education because cultural heritage status and oversimplified readings make it difficult to engage students in authentic readings. A strategy could be to use philosophical dialogues from the tradition of philosophy with children because this is a student-centred approach to teaching where students explore questions and ideas together, and where the teacher assumes the role not as authority, but as facilitator of the dialogue. This (...) kind of dialogic teaching has been encouraged as especially suitable for literary education where teachers aim to engage students in reading the literature with an open mind. However, this article presents a case study that gives reason for caution. It analyses materials for philosophical dialogues on Hans Christian Andersen’s fairy tales and concludes that despite the dialogic ideals, the teaching design caves in to the weight of the cultural and historical impact of Hans Christian Andersen and his work. (shrink)

The long 19th century was a period of many developments and technical innovations in agriculture and animal biology, during which actors sought to incorporate new practices in light of new information. By the middle of the century, however, while heredity steadily became the dominant concept in animal husbandry, some policies related to livestock improvement in Brazil seemed to have been tailored following a climate-deterministic concept established in the mid-18th century by the French naturalist Georges-Louis Leclerc, the Comte de Buffon. His (...) theory of animal degeneration posited, among other things, the necessity of recurrent crossbreeding to preserve animal species living in nonnative environments from climate-induced degeneration. Although largely discredited by the early 19th century, the teachings of the French naturalist seem to have found supporters in a Brazilian program to modernize national agriculture through the application of the natural sciences. Herein I examine the revival of Buffon’s theories in that government-sponsored program to improve animal husbandry and breeding techniques, including actual applications of this theory in the real world. Ultimately, I argue that Buffon’s theory of degeneration was used to tailor public policies and funding for the improvement of domesticated animals in Brazil between 1856 and 1860. (shrink)

En República, libro X, Platón justifica su exclusión de la poesía imitativa mediante argumentos metafísicos y psicológicos. Al hacerlo, enfatiza la distancia de los productos de la imitación respecto de la verdad, y los condena porque apelan al elemento inferior del alma. En Sofista 233d- 236c, se propone una crítica similar contra la sofistería. El imitador puede hacer eidola, que puede ser considerado como real por un ignorante. En ambos casos Platón se refiere a la distancia respecto de la verdad (...) que guardan tanto los objetos hechos por los imitadores –pintores, poetas o sofistas– como los destinatarios de tales artes –espectadores u oyentes–. Los paralelismos entre ambos tratamientos son abundantes. Tal «distancia», como tratamos de mostrar, ofrece una clave no sólo para entender la crítica platónica de la mímesis, sino que también arroja luz sobre algunos pasajes de República cuya conexión con el tratamiento de la imitación no es evidente de inmediato: la sección eikasía de la «línea dividida», así como ciertos pasajes de la alegoría de la caverna. Ambos textos, independientemente de las variadas lecturas e interpretaciones que han merecido, aclaran la naturaleza de la mimesis y las críticas de Platón contra ella. Además, testifican la confianza de Platón en que el contacto directo con lo real neutraliza los efectos perniciosos de la imitación Palabras clave: Mímesis; Verdad; DistanciaIn Republic Book X, Plato justifies his exclusion of imitative poetry by means of metaphysical and psychological arguments. In doing that, he emphasizes the distance from truth of the products of imitation, and condemns them because they appeal to the lower element of the soul. In Sophist 233d-236c, a similar critique is directed against sophistry. The imitator can make eidola, which can be taken by an ignorant as being real. In both cases Plato refers to the distance that both the objects made by imitators –painters, poets or sophists– and the recipients of such arts –spectators or auditors– have from truth. The parallelisms between both treatments are abundant. Such «distance», as we try to show, offers a key not only to understand Platonic criticism of mimesis. It also throws light on some passages of Republic whose connection with the treatment of imitation is not immediately evident: the eikasía section of the «divided line», and certain passages of the allegory of the cave. Both texts, independently of the various readings and interpretations they have deserved, clarify the nature of mimesis and Plato’s criticisms against it. In addition, they testify Plato’s confidence that direct contact with the real neutralizes the pernicious effects of imitation. Keywords: Mimesis; Truth; Distance. (shrink)

Some scholars suspect that thought experiments have something in common with jokes. Moreover, Thomas Kuhn has suggested that what happens to someone who thinks through a thought experiment “is very similar to what happens to a man, like Lavoisier, who must assimilate the result of a new unexpected experimental discovery” (1964: 321). In this paper, I pinpoint the presumed commonalities. I identify, more specifically, what cognitive linguists call “incongruity-resolution” as the problem-solving process not only involved in humor comprehension, but in (...) scientific discovery and thought experimentation as well. (shrink)

RESUMO Anaximandro possui destaque na história da filosofia, conforme o In De caelo de Tomás de Aquino, porque, à luz da racionalidade, ele descobriu os pontos limites do cosmo, na perspectiva do observador, a saber: as estrelas e a Terra, os dois itens mediante os quais o milésio inaugura a cosmologia filosófica e a cosmografia. Este estudo mostra que, baseado não somente no texto de Aristóteles, mas também noutras fontes doxográficas, nomeadamente no In De caelo de Simplício, Tomás reúne em (...) seu texto teorias cosmológicas atribuídas a Anaximandro, como o geocentrismo, a finitude do cosmo, a infinitude e divindade do regente do todo e, refletindo sobre elas, o autor manifesta a grandiosidade do gênio daquele que é considerado como o sucessor de Tales de Mileto. ABSTRACT Anaximander is a prominent figure in the history of philosophy, according to In De caelo of Thomas Aquinas because, in the light of rationality, he discovered the boundary points of the cosmos, from the observer's perspective, namely: the stars and the Earth, the two items through which the milieu inaugurates philosophical cosmology and cosmography. This study shows that, based not only on the text of Aristotle, but also on other doxographic sources, notably in the In De caelo of Simplicius, Aquinas collects in his text cosmological theories attributed to Anaximander, such as geocentrism, finitude of the cosmos, infinity and deity of the regent of the whole and, reflecting upon them, the author manifests the grandeur of the genius of he who is regarded as the successor of Thales of Miletus. (shrink)

The article expresses skepticism on the alleged affinity between Hegel’s theory of conceptuality and conceptual pragmatism. Despite the intriguing philosophical impetus underlying the latter, the author formulates doubts about its compatibility with logical and metaphysical principles of absolute idealism. The criticism is articulated in four theses: pragmatism’s concerns with concept-acquisition and concept-application are largely alien to Hegel’s logical-metaphysical theory of conceptuality; the interchangeability of ‘word’ and ‘concept’ in the pragmatist discussion is incompatible with Hegel’s notion of thinking; the distinction of (...) Vertsandesbestimmung and Vernunftbegriff, while ignored in practice in the pragmatist approach, is pivotal to Hegel’s understanding of the nature of conceptuality; finally, pragmatism’s use of the recognition-thesis from the Phenomenology of Spirit ignores the noncontractarian, non-negotiative function of the same in Hegel’s work. (shrink)

Although the basis of modern biology is Cartesian, Descartes’s theories of biology have been more often ridiculed than studied. Yet, Dennis Des Chene demonstrates, the themes, arguments, and vocabulary of his mechanistic biology pervade the writings of many seventeenth-century authors. In his illuminating account of Cartesian physiology in its historical context, Des Chene focuses on the philosopher’s innovative reworking of that field, including the nature of life, the problem of generation, and the concepts of health and illness. Des Chene begins (...) by surveying works that Descartes would likely have encountered, from late Aristotelian theories of the soul to medical literature and treatises on machines. The Cartesian theory of vital operations is examined, with particular attention to the generation of animals. Des Chene also considers the role of the machine-model in furnishing a method in physiology, the ambiguities of the notion of machine, and of Descartes’s problem of simulation. Finally, he looks at,the various kinds of unity of the body, both in itself and in its union with the soul. Spirits and Clocks continues Des Chene’s highly regarded exploration -- begun in his previous book, Life’s Form -- of the scholastic and Cartesian sciences as well as the dialogue between these two worldviews. Introduction 1 Part One - Tales of the Bête-Machine [ 1 ] - Self-Movers 13 [ 2 ] - Where Do Machines Come From? 32 [ 3 ] - The Uses of Usus 53 Part Two - Machines, Mechanisms, Bodies, Organs [ 4 ] - Tools of Knowledge 71 [ 5 ] - Jeux D’Artifice 103 [ 6 ] - Unity of the Body 116 Conclusion 153 Bibliography 159 Index 177. (shrink)

Resumo: O artigo investiga a seguinte hipótese: o homo friabilis tem se tornado uma nova condição para a compreensão humana emergente da experiência contemporânea. O homo friabilis é uma experiência de fragmentação, no sentido de friável, ou seja, aquilo que se fragmenta facilmente, esboroa-se, ou em sua aquisição mais figurativa, desagrega-se. Para tanto, parte-se de uma questão teórica situada por Deleuze e Guattari em Mil Platôs acerca da complexa relação da potência-impotência do poder na produção de subjetivação. Ver-se-á que tal (...) perspectiva diz respeito ao coeficiente afetivo dos sujeitos. Nesse caso, o sujeito contemporâneo estaria padecendo de uma cleptoafetividade, entendida como roubo da potência de agir e demanda maior à adaptação aos circuitos afetivos padronizados. Ao explorar esse cenário, o artigo sustenta que não se pode ignorar o impacto de tais mutações para se avançar nas pesquisas concernentes às ciências humanas. Palavras-chave: Subjetivação. Afetos. Homo friabilis. Condição humana. Deleuze e Guattari. The rise of homo friabilis: subjectivation in klepto affectivity times: The article investigates the following hypothesis: the homo friabilis has become a new condition for the emerging human understanding of contemporary experience. The homo friabilis is an experience of fragmentation, meaning friable, i.e., that which breaks up easily, crumbles up, or in its figurative acquisition, disintegrates. To this purpose, it starts from a theoretical question posed by Deleuze and Guattari in Thousand Plateaus about the complex power-powerlessness relation of power in the production of subjectivation. It will be seen that such perspective concerns the affective coefficient of the subjects. In this case, the contemporary subject would be suffering from klepto affectivity, understood as theft of the power to act and demands greater adaptation to the standardized affective circuits. In exploring this scenario, the paper argues that the impact of such mutations cannot be ignored to advance research on the humanities. Key-words: Subjectivation. Affections. Homo friabilis. Human condition. Deleuze and Guattari. La emersion del homo friabilis: subjetivación en tiempos de clepto afectividad Resumen: El artículo investiga la siguiente hipótesis: el homo friabilis se ha convertido en una nueva condición para la comprensión humana emergente de la experiencia contemporánea. El homo friabilis es una experiencia de fragmentación, en el sentido de friabilidad, es decir, lo que se fragmenta fácilmente, se desborda, o en su adquisición más figurativa, se desintegra. Con este fin, se parte de una pregunta teórica planteada por Deleuze y Guattari en Mil Mesetas sobre la compleja relación potencia-impotencia del poder en la producción de subjetivación. Se verá que tal perspectiva concierne al coeficiente afectivo de los sujetos. En este caso, el sujeto contemporáneo sufriría una clepto afectividad, entendida como robo de la potencia de actuar y demanda de una mayor adaptación a los circuitos afectivos estandarizados. Al explotar este escenario, el artículo argumenta que el impacto de tales mutaciones no puede ser ignorado para avanzarse en la investigación de las ciencias humanidades. Palabras clabe: Subjetivación. Afectos. Homo friabilis. Condición humana. Deleuze y Guattari. (shrink)

A classic work of the European Enlightenment--and one of the most popular, if scandalous, in its day--the Persian Letters captures, in an engaging epistolary format, the transformational spirit of the era. Amid an ongoing tale rife with sex, violence, and wit, the work addresses a diverse range of topics from human nature and the origins of society, to the nature and role of religious belief, the role of women, statecraft, justice, morality, and human identity. With skill and artistry, Raymond MacKenzie’s (...) stunning new translation accurately reflects the mood and character of the work. In his richly conceived Introduction, MacKenzie seamlessly weaves together an overview of the period with details of Montesquieu’s life, including the influences that inspired the _Persian Letters_, the character and power of the book, and its reception. This edition also includes a Calendar of the _Persian Letters_, a Bibliography of Works in English, and a Bibliography of Works in French. Related texts provide insight into the legacy of the _Persian Letters_. They include selections from works by George Lyttelton, Voltaire, Oliver Goldsmith, and Maria Edgeworth. (shrink)

End-of-life decision-making in patients with dementia is a complex topic. Belgium and the Netherlands have been at the forefront of legislative advancement and progressive societal changes concerning the perspectives toward physician-assisted death (PAD). Careful consideration of clinical and social aspects is essential during the end-of-life decision-making process in patients with dementia. Geriatric assent provides the physician, the patient and his family the opportunity to end life with dignity. Unbearable suffering, decisional competence, and awareness of memory deficits are among the clinical (...) considerations that physicians should incorporate during the end-of-life decision-making process. However, as other societies introduce legislature granting the right of PAD, new social determinants should be considered; Mexico City is an example. Current perspectives regarding advance euthanasia directives (AED) and PAD in patients with dementia are evolving. A new perspective that hinges on the role of the family and geriatric assent should help culturally heterogeneous societies in the transition of their public health care policies regarding end-of-life choices. (shrink)

Some original forms of state emerge from the clan structures in central Africa in the 16th and 17th centuries, beyond the reach of any European influence. The oral epic traditions which echo these events draw from the founts of Bantu mythic thought. The Luba national epic recounts the dramatic origin of its sacred royalty and describes the passage from a primitive culture to a refined civilization, from an uneventful history to one full of movement; but above all it abandons itself (...) to a singular meditation on the ritual usage of fire, on family and death, on time and space, on the rainbow and lightning. If we take the fantastic seriously, symbolic patterns appear which filter the historical tradition and transform it into metaphysics. The reeling King Woot seems to play in reverse the Luba role, on the royal scene of Kuba mythology, where almost Biblical figures could be recognized: the tower of Babel throws its shadow on the adventures of an African Noah who first abandons himself to drunkenness, then to incest, delivering society to the diversity of languages and plunging the universe into primordial chaos. A transition between the myth and the tale, the founding epic of the Lunda state is bathed three times in blood: the blood of the warriors, of the women, and of the beasts who fall prey to a marvelously seductive hunter. Looking closely, we see that this Prince-stranger, initiator of a line of anointed royalty, carries on his shoulders, as does his Luba counterpart, a part of the universe. The cosmogony is veiled in the myth but transparent in the ritual, in the actions and mysterious words of the initiates into mungonge religious society: men with eyes of light are the counterpart of animals with eyes of darkness, as the star of day is opposed to the sinister hyena-moon. The founding epic of the Bemba state tells, like the Kuba myth, of the fascination of the principle of pleasure among a migrating aristocracy, somewhat decadent in comparison with the rude warrior or hunter heroes in the Luba and Lunda epics. But all these narratives, in the final analysis, form one sole myth, which develops its autonomous structures under the turbulence of an historical adventure each time different. More than unfolding the particular story of each kingdom, these legendary chronicles of Zaïre, Zambia and Angola reveal that the powerful political organisations set up by the Bantu to the south of the great forest are not isolated from eacb other: they administrate in common an intellectual patrimony which breaks loose from the ideological role that the kings, whether drunk on palm wine or on military ambition, try to make them play for their own glory: myths and rites obey their own codes, recognize no master but one, which they give themselves in their own kingdom: the Imaginary. The text which follows here is concerned in particular with the epic of the Bemba people, whose dominating aristocracy imposed an anointed royalty on some 100,000 people formerly grouped in matrilinear clans. (shrink)

Cuando comparamos la Revolución de Inglaterra de 1688 con la Revolución Francesa de 1792, encontramos semejanzas en lo que concierne a las causas de ambas, y a los principios que las dirigían. Tales semejanzas, pese a la diferencia de tiempos, de circunstancias y de luces, muestran que la causa del pueblo francés es la de la nación inglesa, y también la de todos los pueblos libres o que han concebido la esperanza de llegar a serlo.

L’origine d’un « besoin de croire » mérite une recherche en particulier dans les profondeurs psychiques archaïques dont on peut retrouver trace en certains phénomènes comme le « sentiment océanique ». Freud, Winnicott, Meltzer et d’autres auteurs après Romain Rolland, inspirés par les pathologies précoces apparentées à l’autisme permettent un aperçu des liens entre ces expériences vécues et un mode psychique premier du « croire » marqué par son absence de limites.

ABSTRACT: Even though Patrick Suppes has many important contributions in the logic, methodology, and philosophy of economics (not to mention economics itself) his work in this area is, surprisingly, not well known within the community of economic methodologists. The aim of the present paper is to contribute to ll this lacuna. After presenting his general views on philosophy of science, the paper discusses at length his important notion of model of data, in connection with his famous learning experiments. His views (...) on fundamental measurement are also discussed in connection with such experiments. The article contains a comprehensive bibliography of Suppes on the subject.RESUMEN: Aunque las contribuciones de Patrick Suppes en el ámbito de la lógica, la metodología y la losofía de la economía (por no mencionar a la propia economía) hayan sido importantes, los metodólogos de la economía apenas las conocen. El propósito de este artículo es cubrir este vacío. Presentaremos su concepción general de la losofía de la ciencia y analizaremos después con detalle su noción de modelos de datos, surgida de sus famosos experimentos sobre aprendizaje. Discutiremos también su concepción de la medición fundamental en relación con tales experimentos. El artículo incluye además una amplia bibliografía de los trabajos de Suppes sobre el tema. (shrink)

En este artículo se ofrece una reflexión teológica sobre el significado que envuelve la elección de los últimos pontífices de la Iglesia católica que va desde Juan Pablo II, pasando por Benedicto XVI, hasta llegar al actual Papa Francisco. A juicio del autor, esta historia de la Iglesia en el último medio siglo ofrece aspectos sorprendentes que pueden llamarse mutaciones, giros, cambios de curso o vuelcos que incitan a preguntar si se trata de continuidad y de un real acrecentamiento, o (...) por el contrario, de real ruptura; más todavía, surge la pregunta de si ante tales variaciones no estaremos ante un hecho de fondo más grave: que el cristianismo sea un sincretismo en el que todo cabe, capaz por tanto de asumir e integrar aun lo más diverso y contradictorio. This article offers a theological reflection on the meaning surrounding the election of the last popes of the Catholic Church that go from John Paul II, through Benedict XVI, up to the present Pope Francis. According to the author, this story of the Church in the last half century gives striking aspects that can be called mutations, turns, changes of course or rollovers which incite to ask if this is a real continuation and enhancement, or on the contrary, true rupture; or even maybe, whether such variations show a much more serious fact arising in the background: that Christianity is syncretic, a system in which anything fits, thus being able to take and integrate even the most diverse and contradictory ideas. (shrink)

En este artículo, considero algunos supuestos costos intuitivos relativos a la negación de la generalidad del Principio de Cierre para el conocimiento. Usualmente los filósofos descartan tal negación como altamente contra-intuitiva pero argumento que, por lo menos en relación a los supuestos costos aquí considerados, esto es incorrecto: dadas nuestras intuiciones folk, no hay tales costos. Por lo tanto un falibilista que busca detener el argumento escéptico basado en el principio de cierre puede restringir el principio sin sufrir esos (...) supuestos costos intuitivos. (shrink)

RésuméKarl Popper, dans La logique de la découverte scientifique, a généralisé et formalisé, sans le savoir, les grands principes méthodologiques formulés par Claude Bernard dans son Introduction àľétude de la médecine expérimentale.Cette analogie est frappante lorsqu'on rapproche du faillibilisme poppérien ľ affirmation du physiologiste selon laquelle les progrès de la méthode expérimentale consistent en ce que la somme des vérités augmente à mesure que la somme des erreurs diminue.Ľ intérêt que ľ on porte à cette analogie dépasse la simple curiositéérudite (...) car certaines difficultés du poppérianisme sont déjà sensibles dans la méthodologie bernardienne.En effet, si ľ un et ľ autre insistent sur le caractère hypothético‐déductif de la démarche scientifique, ni ľ un ni ľ autre n'aborde le difficile problème des décisions épistémiques qu'elle requiert. C'est notamment au niveau des hypothèses falsifiantes destinées àéviter les coïncidences constituent un des écueils les plus graves que rencontre la méthode expérimen‐tale qu'est sensible cette difficulté.SummaryIn his Logic of Scientific Discovery Karl Popper, nor realizing the fact, has generalized and formalized the main methodological principles formulated by Claude Bernard in his Introduction àľ Etude de la Médecine Expérimentale.This analogy is especially noticeable when one brings together Popper's “faillibilism” and the physiologist's affirmation according to which “progress in the experimental method consists in the fact that the more the total error decreases, the more the total truth increases”.The interest in this analogy goes far beyond erudite curiosity since some of Popper's difficulties are already perceptible in Bernard's methodology.As a matter of fact, if both stress the hypothetical‐deductive nature of the scientific progress, none approaches the difficult problem of the epistemic decisions required. This difficulty is particularly perceptible at the level of the falsifying hypotheses intended to avoid the “coincidences being one of the most serious pitfalls of the experimental method” .ZusammenfassungOhne es zu wissen, hat Karl Popper in der Logik der Forschung die methodischen Prinzipien, die Claude Bernard in seiner Introduction àľ Etude de la Médecine Experimental formuliert, verallgemeinert und formalisiert.Die Analogie tritt besonders deutlich hervor, wenn man Poppers Faillibilismus mit der Behauptung des Physiologen konfrontiert, wonach der Fortschritt darin bestehen soll, dass die Summe der Wahrheiten in dem Masse zunimmt, wie die Summe der Irrtümer abnimmt.Das Interesse an dieser Analogie ist insofern nicht ein rein historisches, als gewisse Schwie‐rigkeiten, denen Popper begegnet, sich schon in Bernards Ansatz bemerkbar machen.Wenn auch beide besonderes Gewicht auf den hypothetisch‐deduktiven Charakter des wis‐senschaftlichen Vorgehens legen, so gehen sie beide nicht auf das schwierige Problem der erkenntnistheoretischen Entscheide ein, diedamit verbunden sind. Dieser Mangel macht sich vor allem bei Poppers falsifizierenden Hypothesen bemerkbar, die, wie schon Bernard formuliert, dazu dienen sollen, die Hauptschwierigkeit der experimentellen Methode, namlich das zufällige Zusammentreffen von Ereignissen, zu vermeiden. (shrink)

Este trabajo presenta una discusión sobre el desarrollo de la expresión corporal como uno de los medios de fomentar la desinhibición, la percepción del propio cuerpo en el espacio en que están los demás y, consecuentemente, produ-ce la motivación y promueve la creatividad. En la clase de lengua extranjera se puede lograr este desarrollo a través de juegos, danza y actividades que permitan el contacto con el otro. De esa manera, a partir de algunas cuestiones que plantea la teoría del (...) desarrollo cognitivo al tratar del estudio de procesos tales como lenguaje, percepción, memoria, razonamiento y resolución de problema, y de algunas discusiones de la teoría de las inteligencias múltiples de Gardner (1994), específica-mente acerca de la inteligencia corporal-cenestésica, se analizará cómo el trabajo con la expresión corporal puede ayudar en el desarrollo de las capacidades del estudiante y fomentar su creatividad y su proceso de adquisición y de aprendizaje en clase, concretamente, en la clase de lengua extranjera. Además de la inteligencia corporal-cenestésica, Gardner propone que cada persona tiene, por lo menos, ocho inteligencias o habilidades cognitivas más que trabajan juntas, pero como entidades autónomas que requieren interacción. El autor asume que todas las inteligencias son igualmente importantes, aunque cada sujeto presenta una inteligencia más desarrollada que otra según el escenario cultural en el que se inserta, lo que explicaría, en cierta medida, por qué las personas aprenden de diferentes maneras, es decir, de acuerdo con sus habilidades. Sin embar-go, aunque todas las inteligencias son igualmente importantes, nuestro sistema escolar suele enfatizar la inteligencia lógico-matemática y la inteligencia lingüística hasta el punto de, en algunos casos, negar la existencia de las demás. Así, se debe pensar la educación desde un punto de vista que considera las distintas formas de aprender y, en el caso específico de la enseñanza y del aprendizaje de lenguas extranjeras, se debe adoptar un “abordaje plural de la cognición” y no “unilineal” contrario al de muchos autores que trataron el desarrollo humano. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Image and SilenceGiorgio AgambenTranslated by Leland de la Durantaye (bio)[End Page 94]In the Roman pantheon there is a goddess named Angerona, represented with her mouth bound and sealed (ore obligato signatoque).1 Her finger is raised to her lips as if to command silence. Scholars claim that she represents, in the context of pagan mystery cults, the power of silence, although there is no consensus among them as to how (...) to understand this power. Etymologically speaking, myein, the root of the Greek word mysterion, means “to close the mouth, to silence.” At the beginning of the sacred rites in Eleusis a herald “commanded silence” (epittatei tēn siōpen). It is said that that the initiates into these Eleusinian mysteries were required to maintain absolute silence concerning what they had seen and heard during their initiation. Our question is how to understand this silence. Was it a prohibition aimed at keeping a secret doctrine from the uninitiated? Or did it concern, instead, something truly impossible to say?To begin we might ask what sense there might have been in the obligation to remain silent given that it was possible for anyone—including slaves, and thus, potentially, the entire population of Athens—to be initiated into the mysteries. In his early work, “On Philosophy,” Aristotle affirmed that, “the initiates do not need to learn something (mathein ti), but, instead, to be disposed to something, to experience and to undergo something (pathein kai diatethēnai).”2 It would therefore be possible that in the ancient mystery cults the initiate did not learn a doctrine that could be expressed in words (yet had to remain secret), but, instead, experienced something essentially silent, something impossible to say. “A great awe in face of the gods,” we read in the Homeric ode to Demeter, “silences the voice.”3The impossibility of speaking—and the power of silence—has two forms, one joyful and the other disturbing. In myth muteness is often associated with rape. The Romans tell the story of Lara who was punished for her inclination to gossip by being rendered mute and who was then raped in a sacred wood by Mercury (who took advantage of her impossibility of speaking). Before being transformed into a swallow Philomela was raped by Tereus, who cut off her tongue to prevent her from recounting his misdeed. Persephone, raped, kidnapped, and conducted to Hades, remained there silent as the dead. In every one of these cases silence is the painful experience of a privation of speech, of being unable to say what one wishes to say.In Gnostic mythology, the preexisting, eternal, uncreated God contains within himself a female figure which is his silence, Sigē. From his union with Silence Thought is born. “Sigē,” we read in a Valentinian text, “is the mother of all the beings that have emerged from the Abyss. He who has failed to say the unsayable has silenced it; he who was understood the unsayable, has declared it unsayable.”4 Here too silence appears as the experience of an impossibility of saying, as a privation. It is in opposition to this abyssal figure of silence that the church fathers affirmed the primacy of the logos in which God is revealed. Nevertheless, of the power of silence Heidegger would write: “This primordial silence is more powerful than any human potentiality. No one, on his or her own, has ever invented language—that is, has been strong enough to break the power of this silence.”5 [End Page 95]In Kafka’s parable on Ulysses, we are told that the silence of the Sirens is more perilous than their song, and that Ulysses—who realized, as his ship neared them, that the Sirens were silent—put on an act to protect himself from this silence, plugging his ears with wax and having his men tie him to the mast.6 In Kafka’s retelling of the tale, the silence of the Sirens represents a zero degree of song and, following a stubborn tradition that sees in absence the most extreme form of presence, also represents an at once zero and ultimate degree of reality. In this sense Heidegger could write... (shrink)

Existe una opinión, que ha pasado a ser un lugar común. Y fue Platón el que la echó a rodar, irónicamente, primero a raíz de un percance que le ocurriera a Tales de Mileto; luego, con más reverencia, a raíz de los hábitos de su maestro Sócrates. Lo que Platón narra de Tales es que por estar contemplando el firmamento no vio lo que estaba delante de su nariz, y cayó en un pozo, con gran hilaridad de (...) la servidumbre que lo miraba. Y quién no recuerda al Sócrates que nos describe Platón: bajo la lluvia o la nieve, sin percatarse de ellas, sumido por largas horas en sus pensamientos, aparte, como tomando distancia para reencontrarse de un modo más productivo con los otros. (shrink)

É comumente aceito, atualmente, que Aristóteles não teria enfrentado ou tentado seriamente resolver o famoso paradoxo do mentiroso, embora ele tenha sido formulado por Eubúlides de Mileto, membro da escola megárica e rival filosófico de Aristóteles. No máximo, assim reza a visão tradicional, ele parece apenas fazer uma menção desse paradoxo nas Refutações sofísticas, Capítulo 25, talvez esboçando a sua solução. O meu intento, no presente artigo, é desafiar essa opinião geral mostrando que o Estagirita fornece uma explicação implícita (...) para duas versões do paradoxo do mentiroso, a saber, a versão autorreferencial, e a versão anafórica. A minha alegação é que a solução aristotélica para essas duas versões do paradoxo encontra-se no núcleo de sua refutação de duas teses, as quais denominei como tese da synalethia e como tese da sympseudia. Tal refutação é realizada no oitavo capítulo do quarto Livro da Metafísica, um texto até agora subestimado pelos intérpretes modernos, mesmo sendo a parte final de um dos mais importantes escritos de Aristóteles. A solução aristotélica, assim defendo, é levada a cabo por meio dos seguintes princípios: toda declaração é sempre precedida por um operador de verdade da forma ‘é verdade que...’, ou seja, toda declaração, qualquer que seja o que ela possa declarar a mais, primariamente assevera a sua própria verdade; e, em conformidade com o princípio anterior, toda declaração que assevera a sua própria falsidade ou acarreta a verdade de sua contraditória é necessariamente falsa. Através desses princípios, a refutação de Aristóteles da synalethia e da sympseudia é bem-sucedida. Mostrarei que obtemos uma boa solução para as versões do mentiroso acima mencionadas, apenas aplicando esses mesmos princípios a elas. Esse tipo de solução ao mentiroso tanto quanto para as teses antes citadas é muito parecido com aquele explicitamente encontrado nas obras de diversos filósofos, a saber, Guilherme de Sherwood, Tomás Bradwardine, João Buridano, Alberto da Saxônia, Paulo Venetus, Charles S. Peirce e Arthur Prior. Assim, também defendo que essa linhagem tem as suas raízes na solução de Aristóteles. (shrink)

¿Qué entendemos cuando hablamos de eutanasia? Etimológicamente, el término procede de las raíces griegas eu (bueno, buena) y thanatos (muerte). Sin embargo, una definición etimológica parece insuficiente, ya que la noción que se tiene de tal concepto ha variado a través de la historia, así como su misma práctica.Para comprender el por qué no se ha podido establecer un consenso acerca de lo que se entiende por eutanasia, podría ser útil mencionar algunas culturas y sus prácticas del “buen morir”. Ciertas (...) culturas nómadas, por ejemplo, dejaban atrás a enfermos y ancianos. Los espartanos abandonaban en la corriente de un río a los recién nacidos en caso de que éstos tuviesen alguna deformidad o poca probabilidad de seguir viviendo. En el mismo caso, los romanos los dejaban morir en la intemperie. Entre los battaki, es una práctica común que el padre de familia, ya viejo, suba a un árbol, y simbolizando un fruto maduro, se deje caer; posteriormente, sus familiares lo matan y se lo comen.Ahora bien, ¿cuál es la intuición que parecen tener estas culturas acerca de una muerte causada pero no mal intencionada? En principio, podríanse juzgar tales prácticas como inmorales e inhumanas, pero eso sería cometer imprecisiones contextuales acerca del carácter histórico y moral de tales actividades. La correspondencia más clara entre tales culturas y su concepción del final de la vida se muestra en pos de un respeto y aceptación de la muerte, es decir, una conciencia de la inevitabilidad de la muerte y nuestro artículo versa sobre todo ello. (shrink)

“To see is to imagine. And to imagine, is to see.”Perception and Imaginary in Merleau-PontyMerleau-Ponty accords such a phenomenological and ontological priority to perception that this privilege might lead him to minimize the importance of theimaginary in our relationship with the world. In fact, in the work published during his life, the theme of the imaginary does not occupy a large place, and its conceptual elaboration remains little visible. A reading of his posthumous publications and of his unpublished papers leads (...) to a more subtle landscape, inwhich the philosopher destabilizes our common oppositions between real and imaginary, as well as those between the imaginary and truth. From themanuscripts from the end of the 1940s on, Merleau-Ponty expands his inquiry into perception in two complementary directions: the intuition of a form of coextensivity between perceptive life and imaginary life, but also between perception and expression. These intuitions, never disavowed, would continueto deepen up through the late unpublished ontological works. They find a guiding thread in the contestation of Sartre’s separation between the real andthe imaginary, and they open out onto the outline of a complex link between truth, imagination, and expression. Merleau-Ponty pretended to approve of thework of The Imaginary all that which is actually moving beyond it, in the direction most opposite to this essay’s own aims: “To see is to imagine. And toimagine is to see.” This split with Sartre finds one of its pivots in the phenomenological characterization of vision as a surpassing of the observable, a surpassing that would touch on an essential dimension of being and of truth.“Vedere è immaginare. E immaginare, è vedere”.Percezione e immaginario in Merleau-PontyMerleau-Ponty accorda alla percezione una tale priorità, fenomenologica e ontologica, che questo privilegio potrebbe condurre a minimizzare l’importanzadell’immaginario nel nostro rapporto al mondo. Di fatto, nell’opera pubblicata in vita, il tema dell’immaginario non occupa un grande spazio, e la suaelaborazione concettuale resta poco visibile. La lettura delle pubblicazioni postume e degli inediti conduce a un disegno più sottile, che vede il filosofo destabilizzare le nostre comuni opposizioni fra reale e immaginario così come quelle fra immaginario e verità. A partire dai manoscritti della fine degli anniQuaranta, Merleau-Ponty allarga la sua indagine sulla percezione in due direzioni complementari: verso l’intuizione di una forma di co-estensività fravita percettiva e vita immaginaria, ma altresì fra percezione e espressione. Mai smentite, queste intuizioni vanno approfondendosi fino ai tardi inediti“ontologici”. Esse trovano un filo conduttore nella messa in causa della separazione operata da Sartre fra reale e immaginario, e sfociano nell’abbozzodi un legame complesso fra verità, immaginario e espressione. Merleau-Ponty finge di “ratificare” il lavoro de L’Immaginario, in realtà sorpassandolo nelladirezione il più possibile opposta allo sforzo compiuto da questo stesso saggio: «edere è immaginare. E immaginare è vedere». Questo distanziarsi da Sartretrova uno dei suoi “cardini” nella caratterizzazione fenomenologica della visione come superamento dell’osservabile, un superamento che riguarderebbeuna dimensione essenziale dell’essere come della verità. (shrink)

The aim of the article is to discuss Jasmila Žbanić’s Esma’s Secret, On the Path and For Those Who Can Tell No Tales as a trilogy addressing the consequences of Bosnian War. The films are considered in the theoretical framework of women’s cinema as world cinema, exploring their location in relation to globalization. The article hence analyses each film’s aesthetic in light of influential feminist concepts and theories such as Rey Chow’s age of the world target, Adriana Cavarero’s horrorism (...) and caring, E Ann Kaplan’s trauma and Judith Butler’s ethics. In these films the violated body is neither victimized nor considered as a natural being: each character is a biopolitical subject, geo-culturally located, and produced through processes originating from dynamics of power and responsibility, guilt and care. (shrink)

La ciencia procura siempre alcanzar la máxima objetividad del sujeto como investigador, pero éste en realidad no puede escapar a su subjetividad, y por lo tanto, de pensar de manera abstracta la realidad en que están inmersos el “objetoobservado” y el “sujeto-observador”. Durante el siglo XX, algunos filósofos de la ciencia, tales como Karl R. Popper, Thomas Kuhn, Imre Lakatos y Paul Feyerabend, influenciaron las distintas aproximaciones epistemológicas a la ciencia hasta la fecha de hoy. En este escrito, se (...) describe la propuesta que Imre Lakatos planteó, como aproximación a la verdad científica, a través de lo que él denominó “la Metodología de los Programas de Investigación Científica”, tratando de demostrar cómo ésta surgió a partir de las corrientes de pensamiento de su época, ya que Lakatos intenta solucionar quién tiene razón: si Karl Popper que afirma un método hipotético deductivo con limitaciones, pero de uso universal, o Thomas Kuhn que afirma que lo que los científicos fundamentalmente hacen es estar aferrados a paradigmas o crear nuevos paradigmas, y que cada enfoque está bien propuesto para el contexto sociológico y temporal-espacial, y por lo tanto no existe un método científico universal. (shrink)

Este trabajo discute si hoy todavía es posible admitir que hay principios a priori que no pueden ser abandonados por la física. La historia indica que ciertas “imposibilidades” filosóficas (como el movimiento, el vacuo y la acción directa a distancia) fueron sucesivamente abandonadas por la física. En el siglo XX, la mecánica cuántica rechazó al determinismo y al principio de simetría. La opinión más común entre los científicos es la de que cuando hay un conflicto entre física y filosofía hay (...) que despreciar a los principios a priori. Sin embargo, hay todavía casos en los cuales es posible negar la posibilidad de determinados objetos físicos que entran en conflicto con nuestros conceptos espaciales. El autor defiende que existen principios a priori válidos en la física, y que su abandono es una deficiencia de determinadas teorías físicas modernas. Tal postura no tiene por consecuencia la negación de tales teorías, pero impone la tarea de complementarlas o interpretarlas de un novo modo para que sean compatibles con los principios filosóficos. (shrink)

Este artículo es una aproximación a la estética moderna desde una lectura comentada del capítulo sexto titulado “Los problemas fundamentales de Estética” de la obra “Filosofía de la Ilustración” del filósofo alemán Ernst Cassirer. A partir de un recorrido continuo de los seis temas principales de la estética moderna se quiere realizar el rastreo de los temas básicos que en este capítulo son más reiterativos tales como belleza, arte, ilustración, intuición.