Ondanks al zijn twijfels staat Nietzsche vrij positief tegenover de waarde van kennis en waarheid. Maar hij is tevens sceptisch over de mogelijkheid om de waarheid te kennen. Daarom ruimte hij een grote plaats voor de kunst in, die zijn creativiteit put uit het ongeloof in de waarheid.

The aim of this paper is to make clear in what sense Hume's actually very radical scepticism can nevertheless be called moderate, and not only leaves intact the praxis in daily life but is even compatible with a — modest and experimental — form of science. The first part stresses the theoretical profoundness of Hume's scepticism, and more specifically the arguments concerning the validity of reason and those concerning some typically 'metaphysical' objects. The former culminate in the impossibility of determining (...) a criterion of correctness and consequently in the degenerating of all knowledge into probability. The latter exceed the information of the senses, are therefore 'groundless' and yet in a way ineradicable, not as explanatory principles of reason but as factual constituents of human nature. The result is an overwhelming amount of contradictions and fictions within human imagination, mainly due to the inevitable presence of two contradictory beliefs, none of which are justifiable. In the second part it is shown how Hume succeeds in conquering scepticism without actually rebutting or revoking it. He is able to do so because his scepticism had, in fact, from the very beginning been elaborated as a form of naturalism, gradually minimizing the strength as well as the importance of reason as a theory, while at the same time stressing the deeply rooted and ultimately reliable character of reason as a praxis. The achievement of this naturalistic doctrine of 'belief is threefold : first, it is a critical weapon against metaphysical fictions, second, it gives man, and even the rational philosopher, an ineradicable peace of mind, and finally, it is the foundation of a special sort of science — the critical, experimentally rooted, modest and fundamentally doubtful science of human nature. (shrink)

Patricia De Martelaere was a Belgian author, philosopher, and practitioner of shadowboxing. She wrote an inspiring little book on Taoism that stresses the physical, energetic, and martial aspects of its practice. This paper elaborates upon three central ideas from her work, turns them into a direction that she did not envision, and applies them to a critical-historical interpretation of the Taoist texts that she elaborates upon: an active way of non-knowing, the awareness of a shared ground, and the (...) intellectual fertility resulting from this approach. By occasionally putting aside certain assumptions from contemporary research on early Chinese Taoist philosophers - with respect to books, authors, philosophical consistency, schools, etc. - we can offer alternative accounts to the now dominant forms of interpretation. This approach does not take a position in favor of or against the existence or importance of such entities as “books‘, “philosophers‘, or “schools‘ in pre-imperial China. Nor does it promote an alternative for the dominant narratives. It simply allows for a degree of openness with respect to these narratives, thereby allowing for greater nuance that is at risk of being suffocated in the current context of academic philosophy. (shrink)

Este estudo comparou a frequência de queixas de ansiedade, depressão, retraimento, reatividade emocional e sintomas somáticos em filhos de mães com indicadores de depressão, com a frequência das mesmas queixas em filhos de mães sem indicadores de depressão, avaliados pela escala de problemas intern..

Este artigo pretende dar a conhecer as condições de criação e de produção de um conjunto de textos de vanguarda que viriam a constituir-se como marco para a poesia portuguesa do século XX: a Poesia 61, impressos e editados numa pequena cidade de província, Faro.Como são aí editados estes e outros folhetos de autores como António Ramos Rosa, E. M. Melo e Castro, Maria Teresa Horta, Casimiro de Brito, Luiza Neto Jorge ou Fiama Hasse Pais Brandão, entre outros? Para responder (...) a essa questão, interrogam-se contextos, autores e obras, mas também editores, tipógrafos e tipografias. (shrink)

The purpose of this article is threefold. First, I would like to offer a brief but systematic survey of Hume’s main ideas in ‘The Standard of Taste’. Next, I wish to explore more thoroughly two most important topics, viz. the idea of Beauty nd the idea of a causal link between the work of art and the observer, supplemented by material from Hume’s other writings and mainly from the Treatise of Human Nature. Finally, I will venture to suggest as a (...) hypothesis a comprehensively ‘aesthetic’ interpretation of Hume’s entire philosophy, with the inclusion of his seemingly independent epistemology. In particular the famous mechanism of belief, with its irritatingly obscure element of ‘feeling’ could, in my opinion, gain a more positive content if turned into a kind of ‘cognitive taste’. (shrink)