O presente ensaio analisará três obras de Sartre, La Transcendance de l’ego (1936), L’Être et lenéant (1943) e Cahiers pour une morale (1983). Tentaremos demonstrar que esse percurso é,ao mesmo tempo, a evolução e a manutenção de algumas teses enunciadas na primeira obra.Identificaremos alguns dos objetivos da filosofia sartriana, tanto na moral quanto na política,revelando o papel central do Ego nessa discussão, e, por fim, identificaremos as consequênciasmorais de uma nova concepção da consciência, do ego e da reflexão edificadas por (...) Sartre aolongo de sua trajetória. (shrink)

É possível afirmar que a filosofia da liberdade de Sartre contenha as bases de uma Ética? Algo corrente de sua biografia é que ele, como sequência de sua obra magna pretendia escrever uma Moral; mas essa pretensão acabou se resumindo a simples anotações de trabalho publicadas postumamente. Algo similar ocorre quando ele publica sua segunda grande obra, que também teria seu volume prático, jamais levado a termo. Considerando que toda a filosofia de Sartre está pautada no princípio da liberdade humana (...) absoluta e irrestrita, essa não seria a razão de tal malogro? No intuito de introduzir essa questão escrevemos esse artigo. (shrink)

The philosophy developed by Sartre is the philosophy of freedom. This is confirmed by his work, whether in literary or theatrical texts, in political interventions and even in travel reports; but it is in technical works that this concern is even more evident: Sartre sustains that his philosophy must fulfill three tasks, of which the first – and most important – is the metaphysical liberation of men and women. Being and Nothingness fulfills precisely this task; it is against Kant and (...) distancing itself from Husserl and Heidegger that, first, freedom reveals itself as phenomenological truth: I am freedom; second, against all determinism, whether of externality, such as History (situation, class, etc.), or of interiority, such as Ego (transcendental Self, character, etc.), Sartre shows that freedom is also the foundation of History and the beginning of every individual adventure (life story, Psyche), both expressions of the same genesis: the singularity of freedom, self-sustaining process of being-in-the-world, is the only source of what man is and, consequently, of everything that can come to Being. Phenomenological ontology is the foundational work of the philosophy of freedom. (shrink)

O presente artigo traz uma reflexão sobre o livro Mallarmé – la lucidité et sa face d’ombre, obra em que Sartre discute a relevância e o alcance da psicanálise existencial. A introdução e a primeira nota, fundadas em EN, visam mostrar o papel situado da liberdade; a segunda nota cuida de aplicar essa chave de leitura à existência do poeta Mallarmé; a terceira nota mostra as consequências para toda poesia, caso seja desconsiderada a “escolha original” do poeta (homem situado). Enfim, (...) trata-se de mostrar o caráter onírico do projeto existencial de Mallarmé, expresso em sua poesia. (shrink)

É consenso entre os comentadores de Sartre que sua filosofia segue os moldes do racionalismo cartesiano; para sustentar essa tese utiliza-se, em especial, a marcante influência de Husserl e a utilizaçáo recorrente da idéia de intencionalidade da consciência. Ora, se Sartre é cartesiano e sua filosofia mantém as mesmas conquistas do racionalismo, por certo reedita os mesmos problemas, dentre os quais aquele relativo ao tempo, tema desse trabalho: o instantaneísmo . Qual seria a soluçáo apresentada pelo filósofo para superar essa (...) questáo? De que modo Sartre encaminhará seu pensamento a fim de transpor a evidência do instante, inerente ao cogito e, assim, instaurar a temporalidade, necessária para tematizar a lida cotidiana Presente que, invariavelmente, remete ao Passado e ao Futuro ? A discussáo dessas questões motiva esse artigo. (shrink)

Este texto tem por objetivo refletir estas questões a partir da noção de INFÂNCIA, trabalharemos esta noção tendo como ponto de partida a idéia do in-fans, ou seja, aquele que não fala, o que não possui a palavra, o que não tem a razão. Procurarei indicar o caminho de uma discussão que nos permita ver as relações de poder que se efetivam nas trocas dialógicas dentro do espaço escolar. Neste sentido, partirei de uma situação real, concreta, de um evento ocorrido (...) em uma sala de aula de 1a. série do ensino fundamental de uma Escola Pública em Piracicaba, interior de São Paulo. (shrink)

The reflections around teacher training and the means by which it is treated in the educational contexts have major importance, due to the urgency of the topic as well as the multiplicity of ways to be dealt along with the teachers. From researches of images production, developed with children and teachers in the ambit of early childhood education, this text will reflect on the formative processes of teachers in the childhood education. In this context, there are a few relevant questions: (...) what can the image do in the formative processes? In which ways may the teacher training help us to think about the childhood and the educational practices with little children? By which means may the childhood help us to think the work of teacher training. In this way, using the produced images, this text aims to operate in the circulation movement of the thought itself, in which the thought can, in its exteriority, experiment with words, childhood, image and teacher training, enabling ruptures to think about the child, the educators, the school, the knowledge, the doing, the powers, the action protocols, what to do with the children and how to deal with them, composing possibilities that overflow what is determined and legalized. As theoretical basis, we take authors such as G. Agamben, G. Deleuze e Michel Foucault. (shrink)

A filosofia de Sartre é reconhecida pela defesa irrestrita da liberdade: a purificação absoluta do campo transcendental fundamenta O Ser e o Nada. Mas essa obra gerou uma série de críticas devidas à dificuldade para passar ao plano concreto e descrever a sociedade e a história. Esse artigo tem por objetivo colocar em relevo a situação, contrapartida da liberdade e, desse modo, mostrar que nos anos 40 Sartre amplia a noção de situação, ou engaja a liberdade, permitindo a passagem da (...) ontologia à história. (shrink)

É consenso entre os comentadores de Sartre que sua filosofia segue os moldes do racionalismo cartesiano; para sustentar essa tese utiliza-se, em especial, a marcante influência de Husserl e a utilizaçáo recorrente da idéia de intencionalidade da consciência. Ora, se Sartre é cartesiano e sua filosofia mantém as mesmas conquistas do racionalismo, por certo reedita os mesmos problemas, dentre os quais aquele relativo ao tempo, tema desse trabalho: o instantaneísmo . Qual seria a soluçáo apresentada pelo filósofo para superar essa (...) questáo? De que modo Sartre encaminhará seu pensamento a fim de transpor a evidência do instante, inerente ao cogito e, assim, instaurar a temporalidade, necessária para tematizar a lida cotidiana Presente que, invariavelmente, remete ao Passado e ao Futuro ? A discussáo dessas questões motiva esse artigo. (shrink)

This paper is the result of reflections inspired by observing and participating in dancing sessions with children. Our experience of the latter led to the production of images that provoked a variety of questions, and invited us to think about the relationships between bodies, dance, and various forms of education. Among these questions were: what clues about the experience of human embodiment are given through observing children’s dance? What can children teach us through participating with them in this performative medium, (...) and what are its implications for education, most especially in light of our observations of children's inventiveness in this regard? Our impressions resonate and find expression in the oeuvre of Gilles Deleuze, Félix Guattari, Michel Foucault, Jan Masschelein and Manoel de Barros. Placing ourselves under their influence, we mobilized our thinking and opened ourselves to the emergent character of their ideas, resulting in what might be called a form of “dancing-writing” in which those two forms of expression interact. This dancing-writing is informed by and imbued with children’s lived experience: step by step, we walked the paths that they opened, recording as best we could their multisensorial approach to the world—gaze, taste, smell, sound, touch, movement. Ours was an experience of research on movement, with movement, in movement. As such, we harbor no intention to present final answers, but rather offer the reader an invitation to think philosophically and childishly. Ours is an invitation to dance with and among the questions which that very dance inspired. (shrink)

Este artigo promove uma leitura sobre noções de alguns pensadores da Contemporaneidade que levam em consideração as “práticas do homem sobre si mesmo”, tendo por limites as teses de mnemotécnica de Nietzsche e de antropotécnica de Sloterdijk, as quais apresentam o intuito de mostrar como ocorreu a “adaptação” humana a estatutos sociabilizantes ao longo de milênios, mas percebida de maneira intensiva somente a partir do século XIX. Processos de contenção, cuidado do homem para com o homem e domesticação são expostos (...) apontando as fragilidades desse ser, bem como os novos rumos da Filosofia Contemporânea diante de todos os anseios humanos por controle, manutenção e manipulação da vida. (shrink)

Grasping. Avarice. Covetousness. Miserliness. Insatiable cupidity. Overreaching ambition. Desire spun out of control. The deadly sin of Greed goes by many names, appears in many guises, and wreaks havoc on individuals and nations alike. In this lively and generous book, Phyllis A. Tickle argues that Greed is "the Matriarch of the Deadly Clan," the ultimate source of Pride, Envy, Sloth, Gluttony, Lust, and Anger. She shows that the major faiths, from Hinduism and Taoism to Buddhism and Christianity regard Greed as (...) the greatest calamity humans can indulge in, engendering further sins and eviscerating all virtues. As the Sikh holy book Adi Granth asks: "Where there is greed, what love can there be?" Tickle takes a long view of Greed, from St. Paul to the present, focusing particularly on changing imaginative representations of Greed in Western literature and art. Looking at such works as the Psychomachia, or "Soul Battle" of the fifth-century poet Aurelius Clemens Prudentius, the paintings of Peter Bruegel and Hieronymous Bosch, the 1987 film Wall Street, and the contemporary Italian artist Mario Donizetti, Tickle shows how our perceptions have evolved from the medieval understanding of Greed as a spiritual enemy to a nineteenth-century sociological construct to an early twentieth-century psychological deficiency, and finally to a new view, powerfully articulated in Donizetti's mystical paintings, of Greed as both tragic and beautiful. Engaging, witty, brilliantly insightful, Greed explores the full range of this deadly sin's subtle, chameleon-like qualities, and the enormous destructive power it wields, evidenced all too clearly in the world today. (shrink)

Upon the release of Brokeback Mountain, the conservative film critic, Michael Medved, in a television interview, predicted that a gay western – or maybe he called it a gay cowboy movie – would not attract an audience, presumably on grounds that the intersection of the audience for gay movies and the audience for westerns would yield, as the logicians say, the null set. Medved was proven wrong, as Brokeback, which cost $14 million to produce, went on to earn $83 million (...) on first release in the United States (plus $95 million abroad). But Medved was also wrong in his initial description. Although rodeos, horses, and cattle percolate through the film, Brokeback does not fit the classic American Western movie storyline. From the films of William S. Hart and Tom Mix down through Gary Cooper in The Virginian and High Noon, John Wayne in Stagecoach, Alan Ladd in Shane, and Clint Eastwood in The Unforgiven, the Western hero wears a cowboy hat, rides a horse, and carries a gun. His ultimate goal is to save the good folks from the bad guys, and he always succeeds. Brokeback, of course, is not like these films at all. Jack Twist and Ennis Del Mar are not engaged in the Westerner’s project of vanquishing evil. In fact, Ang Lee’s film more closely resembles the stories of such star-crossed lovers as Abelard and Heloise, Tristan and Isolde, and Romeo and Juliet. More interestingly, it fits a narrative pattern common in the nineteenth-century operas of Bellini, Donizetti, Verdi, and Wagner. In.. (shrink)