The Hungarian health care system is scheduled to undergo dramatic structural changes, emphasizing preventive medicine, health education, and competition among providers. Keywords: cost control, health care reform, health education, Hungary, market system, preventive medicine CiteULike Connotea Del.icio.us What's this?

Este trabajo explora una línea posible del diálogo entre Walter Benjamin y Hannah Arendt mediante la presentación de algunas intermitencias entre dos figuras relevantes de su pensamiento sobre la historia, la figura que Benjamin determina en su abordaje del Angelus Novus pintado por Paul Klee, y la figura de Er en los términos en que Arendt la elabora a partir de una parábola kafkiana. Retomamos ambas figuras con el objetivo de mostrar en ellas el intento filosófico de organizar un (...) pensamiento crítico que resista la esclerosis del concepto moderno y progresivo de historia: en un contexto en que el pasado pareciera diluirse en la impotencia de su presencia y el futuro se presenta como reproducción apocalíptica del desastre, sostenemos que Benjamin y Arendt convocan al Angelus Novus y al Er kafkiano como imágenes capaces de dislocar el anquilosamiento de la crítica y el flujo epistemológico implicado en la crisis moderna de la experiencia. (shrink)

Este trabalho foi desenvolvido a partir de uma apresentação feita na IV Semana Didático-Cultural e I Congresso de Pesquisa e Extensão da UEMG – Campus Barbacena. O título deste evento era História: Identidade e memória , e seu símbolo o quadro Angelus Novus de Paul Klee. Nosso objetivo era o de apresentar a relação entre o quadro e a temática do evento, para isso buscamos o apoio de três autores: Benjamin, dono do quadro, que demarcou a sua interpretação do (...) Angelus Novus comparando-o com o Anjo da história; Scholem, herdeiro do mesmo após a morte de seu amigo Benjamin, autor de um poema sobre o quadro de Klee; e Kafka, escritor que sempre povoou o debate epistolar dos dois anteriores, e que, apesar de não ter tido contato com o quadro de Klee, descreve o cenário em que é possível a sua produção. Por fim reavaliamos o quadro a partir do humor judaico que unifica a estes três autores, afim de redimensionar o valor de alerta representado pelo semblante aterrorizado do anjo de Klee. Nesta versão escrita a seqüência dos argumentos foi mantida, mas o texto foi substancialmente alterado para se adaptar ao novo veículo de divulgação. (shrink)

A linguagem apofática é um gênero discursivo estreitamente relacionado à Teologia Negativa, cuja formulação mais acabada se encontra na obra do Pseudo-Dionísio (séc. V), místico que funda uma tradição negativa que se perpetuará durante toda a Idade Média e Moderna. Na contemporaneidade diversos autores (DERRIDA, 1995 e 1997; FRANKE, 2007; PONDÉ, 2003; VEGA, 2004 e 2009 e outros) têm destacado a retomada desse gênero discursivo nas artes, na literatura e nas ciências humanas de forma geral. A linguagem apofática é, portanto, (...) um discurso que visa à própria transcendência e se orienta para a denúncia de um vazio intrínseco à linguagem e ao mundo que dela se origina, de tal modo que o Deus que aí comparece desliza sob nossa linguagem sem se deixar prender em nossas teias discursivas. No presente texto a impossibilidade do nome de Deus torna-se metáfora para se refletir, a partir do exemplo da mística de Angelus Silesius, sobre as possibilidades de um pensamento negativo cujos fundamentos sejam o esvaziamento da linguagem, que se vê despojada de sua capacidade de dizer o mundo, e o aprendizado do não-saber. Palavras-chaves: Linguagem apofática; Linguagem; Angelus Silesius; não-saber.Apophatic language is a genre closely related to negative theology, whose the most accomplished formulation is found in the Pseudo-Dionysius work (fifth century), who founded a mystical tradition that perpetuated throughout the Middle and Modern Ages. Several authors in contemporary such as Derrida (1995 and 1997), (Franke, 2007), (Pounde, 2003), (Vega, 2004 and 2009), and others, have highlighted the resumption of that genre in the Arts, Literature and the Humanities in general. Apophatic is, thus, a discourse that seeks transcendence, and it orients itself to denounce the emptiness intrinsic to language as well as to world, so that the God that there appears slips under our language without being caught in our discursive webs. In this text the impossibility of God's name becomes a metaphor to reflect, from the example of the mystique of Silesius Angelus, on the possibility of a negative thought whose foundations are the emptiness of the language, which finds itself stripped of its ability to tell the world, and from the learning of the not-knowing. Keywords: Apophatic language; Failure of language; Angelus Silesius; not-to knowing. (shrink)

Este artículo de homenaje a la Profesora Yolanda Ruano se divide en dos partes. En la primera discuto las críticas que ella realizara a mi libro sobre la diosa Fortuna en las que avanzaba su propio análisis de las complejas relaciones entre razón y fortuna en el pensamiento occidental. En la segunda parte, desde el punto de vista del “giro icónico” en humanidades y ciencias sociales, analizo el caso concreto del auge y desaparición de la diosa Fortuna en la iconografía (...) política de la ciudad de Berlín. A lo largo del siglo XIX la diosa Fortuna desaparece de la escena berlinesa y es sustituida por la diosa Niké o Victoria, que popularmente se interpreta como un Ángel de la Victoria. Este es el marco de la infancia de Walter Benjamin, quien más tarde expresará su visión de la historia con un otro ángel completamente distinto, el Angelus Novus de Paul Klee. (shrink)

Este artículo de homenaje a la Profesora Yolanda Ruano se divide en dos partes. En la primera discuto las críticas que ella realizara a mi libro sobre la diosa Fortuna en las que avanzaba su propio análisis de las complejas relaciones entre razón y fortuna en el pensamiento occidental. En la segunda parte, desde el punto de vista del “giro icónico” en humanidades y ciencias sociales, analizo el caso concreto del auge y desaparición de la diosa Fortuna en la iconografía (...) política de la ciudad de Berlín. A lo largo del siglo XIX la diosa Fortuna desaparece de la escena berlinesa y es sustituida por la diosa Niké o Victoria, que popularmente se interpreta como un Ángel de la Victoria. Este es el marco de la infancia de Walter Benjamin, quien más tarde expresará su visión de la historia con un otro ángel completamente distinto, el Angelus Novus de Paul Klee. (shrink)

There is a picture by Klee called Angelus Novus . It shows an angel who seems about to move away from something he stares at. His eyes are wide, his mouth is open, his wings are spread. This is how the angel of history must look. His face is turned toward the past. Where a chain of events appears before us, he sees one single catastrophe, which keeps piling wreckage upon wreckage and hurls it at his feet. The angel (...) would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise and has got caught in his wings; it is so strong that the angel can no longer close them. This storm drives him irresistibly into the future, to which his back is turned, while the pile of debris before him grows toward the sky. What we call progress is this storm. 1. (shrink)

An edition of three essays by the leading French philosopher and theorist Jacques Derrida on the ethical, political and linguistic issues posed by the act of 'naming'. Passions: An Oblique Offering is a reflection on the question of the response, on the duty and obligation to respond, and on the possibility of not responding - which is to say, on the ethics and politics of responsibility. Sauf le nom (Post Scriptum) considers the problematics of naming and alterity, or transcendence, raised (...) inevitably by a rigorous negative theology. Much of the text is organised around close readings of the poetry of Angelus Silesius. The final essay, Khora, explores the problem of space or spacing, of the word 'khora' in Plato's Timaeus. Even as it places and makes possible nothing less than the whole world, 'khora' opens, dislocates and displaces all the categories that govern the production of that world, from naming to gender. (shrink)

Tato stať je výrazně ovlivněna pronikavou intepretací Hegelovy Fenomenologie ducha, kte­rou pod titulem Hegelova fenomenologie světa předložila Tereza Matějčková. Stať vychází z otázky, co z hlediska časovosti dělá duch, který nahlíží rozum působící v dějinách, když tento rozum nahlíží jakožto věčně působící princip (motor) dějin. Duch nevyhnutelně zaují­má perspektivu konce dějin. Tuto perspektivu ale neinterpretuji jako pokus vystoupit z dějin, popírat jejich časovost či přehlížet právě probíhající přítomné dění. Neboť právě „nynějšek“ má duch poznat tak, že v něm kulminuje věčně (...) působící rozum. Z hlediska konce dějin či věč­nosti duch v přítomném poznává to věčně přítomné (totiž Rozum). K objasnění perspektivy konce dějin ji jednak krátce kontrastuji s Nietzscheho a Kantovým náhledem na konec dějin a jednak ji navrhuji připodobnit k „andělu dějin“, kterého viděl Walter Benjamin na obraze Angelus Novus a který zděšen z přítomného couvá zády k budoucnosti. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 517 My second concern is whether Dulles needs to develop more explicitly the liturgical dimension of the tradition as a type of tacit knowing. To be sure, Dulles is open to seeing the divine liturgy as an important source for what he refers to as " traditioning " (cf. 33-34). Furthermore, his personal commitment to the traditional liturgy's unique mode of communication can be quite passionate, as (...) when he states: In countries such as the United States young people cannot even imagine what it must have been like to live in the Catholic Church of fifty years ago. They frequently worship in churches or auditoriums barren of shrines and statues. They are ignorant of the an· swers that their parents or grandparents memorized out of a catechism. They know practically no prayers by heart, and are perhaps unable to say the Angelus or the Rosary. They are so open to the world that they are almost drowning in secularity (101; cf. also 19). Nevertheless, personal conviction seems to give rise to little theoretical reflection about why this sort of symbolism is so central to the Catholic tradition. Liturgy's function in communicating the rule of faith of Christian communities receives no separate chapter and appears as a decidedly secondary source of theological reflection. Here he could perhaps have been illuminated by Jean-Luc Marion's philosophical meditations on the symbolism of the Eucharist as presence and gift. The Craft of Theology will serve as absorbing reading for graduate students who are just beginning to study theology. That is not to say that Dulles's book is only an autobiographical retrospect on the profession which he has ably practiced for more than half a century. Whether understood as a stimulant to ·thinking judiciously about the living tradition of the Catholic church or as a guide for contemporary ecclesial communities of different confessions seeking to recover the catholicity of the Christian tradition, Dulles's system will be a no less than invaluable resource to Christian theologians. The Catholic University of America.Washington, D.C. PETER J. CASARELLA "Un maitre en theologie: Le Pere Marie-Michel Labourdette, O.P." Revue Thomiste 92, No. 1 (January-March, 1992). Toulouse: Ecole de theologie, 1992. Pp. 428. 130F. This collection of twenty essays serves as an intriguing introduction to the life and thought of the Dominican professor and moral theologian P. Marie-Michel Labourdette, who worked for most of his religious life at the Dominican studium of St. Maximin of the Province 518 BOOK REVIEWS of Toulouse. Prefaced by two contributions of biographical interest, and completed by a comprehensive bibliography, the core selections crystalize around two poles of interest. First, they explore the character of Labourdette's thought and methodology, both as a churchman and a Thomist. Especially enlightening here are the essays by M. Larive, " Quaedam impressio divinae scientiae, la theologie selon le P. Labourdette " and 5.-Th. Bonino, "Le thomisme du P. Labourdette." Second, other essays succeed in capturing this Thomistic thinker in flight, as it were, as his incisive powers of analysis and synthesis reveal themselves in his treatment of various theological questions. I would especially recommend here A. D. Mongillo's "La fin derniere de la personne humaine," C. J. Pinto de Oliveira's "La prudence, concept cle de la morale du P. Labourdette," and T.-D. Humbrecht's "Le peche originel selon le P. Labourdette." These essays skillfully coalesce and complement each other, forming, as with the variously tinted panes of a stained-glass window, a multi-colored illumination of their subject. What emerges from this well-composed assemblage is a devoted homage to a theologian creatively faithful to his inherited traditions. This creative fidelity to the depositum fidei, and to a Thomistic legacy invigoratingly alive in his own work, forms the intellectual principle by which P. Labourdette sought to perceive and understand the many new insights and developments that cannot help hut teem before any alert, twentieth-century mind. P. Lahourdette addresses himself to theological issues using an approach both classical and flexible, deep, yet clear. This clarity is of such an order that it reveals to the contemporary reader aspects of traditional theological investigation that have been... (shrink)

ABSTRACT The article deals with the early career of the literary critic Alberto Asor Rosa, one of the founders of the operaismo movement, a Marxist tendency advocating the management of factories by workers through bottom-up councils. It outlines the role he assigned to literature and culture, investigating his criticism first against the non-revolutionary cultural politics of the Italian Communist Party, notoriously through his book Scrittori e popolo and his writings for the periodical classe operaia, then identifying a transition from a (...) destructive approach against any culture based on values to the use of cultural disciplines purely as techniques. The article posits that this instrumental understanding of culture depended on Asor Rosa’s political choice to take the perspective of the working class, in order to use culture itself for social analysis. In the second half of the decade, contributing to the periodicals Angelus novus and Contropiano, he still considered culture ineffective as a way towards revolution, but he began to value the great works of ʻbourgeois’ literature for their ability to penetrate the middle-class spirit and undermine capitalist society. The article concludes that, despite his changing idea of culture, Asor Rosa’s opinions on the intellectual’s task fit the traditional concept of it. (shrink)

My essay will take as its point of departure the paragraph from Gershom Scholem’s “Reflections on Jewish Theology,” in which he depicts the modern religious experience as the one of the "void of God" or as "pious atheism". I will first argue that the "void of God" cannot be reduced to atheistic non-belief in the presence of God. Then, I will demonstrate the further development of the Scholemian notion of the ‘pious atheism’ in Derrida, especially in his Lurianic treatment of (...) Angelus Silesius, whose modern mysticism emerges in Derrida’s reading as the ‘almost-atheism’. The interesting feature of this development is that, while for Scholem, the ‘void of God’ is a predominantly negative experience, for Derrida, it becomes an affirmative model of modern – not just Jewish, but more generally, Abrahamic – religiosity which, on the one hand, touches upon atheistic non-belief in the divine presence here and now, yet, on the other, still insists on commemorating the ‘withdrawn God’ through his ‘traces.’ What, therefore, for Scholem, constitutes the ultimate cry of despair, best embodied in Kafka’s work – for Derrida, reveals the more positive face of the modern predicament in which God has absented himself in order to make room for the creaturely reality. And while Scholem envisages redemption as the full restoration of the divine presence – Derrida redefines redemption as the ‘pious’ work of deconstruction to be undertaken in the ‘almost-atheistic’ condition of irreversible separation between God and the world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art Education and the Emergence of Radical Art Movements in Egypt: The Surrealists and the Contemporary Arts Group, 1938–1951Patrick Kane (bio)So it wasn’t the aim of the artist to just toss out a work of art. A tradition of the exhibition of the natural, and its meaning was not that it fled from life, but that it had penetrated and plunged into reality. Its meaning was not a prescription (...) or plain exercise in the taste of the sublime, or harmony of forms and charming scenes; and its meaning was not as a decoration of life; it was in its expression of what life inspires in us to give back.—Henry Moore, as quoted by Ramses Yunan, in “The Aim of the Contemporary Artist”1In these crucial days of difficulty, the artists in this country live in tall aristocratic towers.... For this peasant has an art of his own that sustains him, and it is not that art of the educated class.—Kamil Al-Tilmisani (c. 1941–1942)By 1938, as the agrarian crisis in Egypt deepened, the Depression, food shortages, low wages, expropriations of crops, and forced rents opened a polemic among Egyptian intellectuals over the role of the state and the looming threat of fascism. With the dismissal of the government of Mustafa Al-Nahas at the end of 1937, the political turbulence underscored the weakening of the Wafd Party. Opponents of the old Wafdists and supporters of the monarchy resorted to openly fascist tactics, including the establishment of youth organizations and the Blue Shirts, the fascist front of the young Wafdists who modeled themselves on Mussolini’s Black Shirts. The serial crises of agrarian struggles and parliamentary stalemates between [End Page 95] nationalists and monarchists led to increasingly militant stances by the paramilitary fascist organization Misr Al-Fattah (Young Egypt) as a counter to the Muslim Brothers. When Mahmud Khalil resigned from the Wafd and assumed the presidency of the Senate in 1938, his ascension opened a new phase of struggle in politics through culture and the arts.2 In this context, caricatures and satirical sculptures of Khalil appeared in 1939 that parodied him as the icon of a “dictatorship of art.”3 Leading intellectuals from all political stances addressed these issues directly. The cultural journals were peppered with articles on the problems of everyday life and the material crises with such representative titles as ‘Abbas al-Aqqad’s “Food for the Rich,” in which he raised the problem of food shortages and inequity as an issue for reform.4 Within the year, articles in Al-Risala and Al-Thaqafa drew comparisons with French and Italian nineteenth-century landscapes as a model for the recognition of the countryside as a subject. In journalism and the arts, suffering became a part of the recognition of the everyday, as articles appeared on Millet’s nineteenth-century paintings of French peasants.As the war in Europe encroached into the cover pages of Egypt’s cultural journals, Zaki Muhammad Hasan wrote an essay for Al-Thaqafa entitled “The Angelus,” with a reproduction of the 1859 painting by Jean Francois Millet (1814–1874).5 Hasan wrote about Millet’s interest in the “the daily labors of the peasant” as a depiction of the conditions of French peasants. Hasan’s mention of Millet’s own peasant origins, and his listing of paintings of social conditions, including Les Glaneuses (The Gleaners), reflected a broadening interest in the artistic subject of the peasant and the rise of the peasant as artist. Although in Millet’s painting there is a prayer scene of a man and a woman in the fields that is generally regarded as the evening prayer with the sun setting, an Egyptian reader could link the prayer with the issue of workers taking breaks in the fields at a time when the issue of compensation of peasant farm workers was paramount.6 Hasan introduced “The Angelus” to his readers as a Catholic prayer in southern Europe offered at dawn, noon, and sunset and compared the origins of the prayer’s stanzas from the Gospel of Luke 1:28–31 with passages from the chapter on Maryam in the Quran... (shrink)

O presente artigo discute o conceito de memória ética em Walter Benjamin a partir das teses Sobre o conceito da história. Argumenta-se que a partir deste autor se pode atribuir um papel ético e reparador às investigações acerca dos fenômenos humanos, retirando-os do lugar comum de “fatos sociais” e reivindicando-se uma memória ética na sua intepretação, que desde o início está comprometida em “escovar a história a contrapelo”. Isso significa escavar as ruínas dos monumentos e documentos de cultura e extrair (...) deles o seu teor de documentos de barbárie. A partir da alegoria do Angelus Novus, apresentada pelo autor na IX Tese, sugere-se que a função do método de investigação histórica é de despertar as vozes que foram silenciadas pela versão oficial da história, iluminando o presente com rememorações prenhes de compromisso ético com uma noção de história que não tem fim em si mesma, mas que foi forjada sobre o jugo das opressões dos vencedores. Sugere-se que a alegoria do Anjo se reporta à própria função social do investigador materialista, cujo compromisso é preencher o “tempo vazio e homogêneo” com o “tempo de agora” [Kairós], rico em histórias e memórias dos esquecidos. (shrink)