O objetivo deste artigo é compreender o fenómeno da propaganda indirecta no cinema enquanto dispositivo ideológico de controlo da vida privada, identificando a forma como foram tratados os papéis do feminino e do masculino no que à intriga amorosa conducente ao casamento diz respeito.Para o efeito, foram analisados, à luz do contexto sociocultural e político das duas primeiras décadas do Estado Novo em Portugal, sete filmes de ‘comédia à portuguesa’ marcantes do chamado ‘período de ouro’ do cinema português.A análise (...) comparada do enredo faz emergir um paradoxo: por um lado, o casamento, tido à luz da época como epicentro da vida privada e unidade primária da vida social e afetiva, é naturalmente um dos tópicos centrais nessas narrativas - tudo se encaminha para ele como concretização e realização individual. Porém - salvo raríssimas exceções -, nada dele é retratado. A sua vivência exterior ou social, e sobretudo quotidiana, privada, é omissa. Tratado dessa forma, o casamento não é mais do que um “desfecho ornamental” e uma utopia: o círculo da vida comum a dois nunca é invadido pelo espetador. (shrink)

The purpose of this paper is to trace the American Society for the Control of Cancer's (ASCC) influence on the Portuguese Institute of Oncology's (IPO) Bulletin. The time period featured is from 1934 to 1940, which spans the first two decades of the newly formed Portuguese dictatorship, known as the Estado Novo (1933–1974). The analysis of the ASCC's “imprint” on the IPO's Bulletin aims to shed new light on how American culture influenced Portugal, from its first appearance (...) at the beginning of the 20th century. It brings together the disciplines of history of science and history of art and visual studies, in order to analyse these campaigns' strategic relationship with their “patients and contributors to be.” The public is encouraged by this means not only to seek timely assistance, but also to participate financially in the “cancer cause.” This is achieved by means of international consumer culture media in everyday forms, such as film, adverts in written form, and exhibitions publicising the cause. Lastly, this analysis approaches transnationalism, modernism, and the scientific nature of the Estado Novo's nationalism from new and innovative angles, allowing for a “rethinking” of said nationalism. (shrink)

Normal 0 21 false false false PT-BR X-NONE X-NONE MicrosoftInternetExplorer4 Normal 0 21 false false false PT-BR X-NONE X-NONE MicrosoftInternetExplorer4 As relações entre a Igreja Católica e o Estado Novo foram, de uma forma geral, caracterizadas pela sua estreita proximidade. No entanto, na década de 60, um sector católico começa a afastar-se das directrizes do Governo, nomeadamente no que diz respeito à sua política colonial, tornando-se protagonistas de iniciativas de oposição à guerra e ao carácter ditatorial do regime. Os (...) ventos de mudança que, na época, atravessavam os corredores da Santa Sé movidos pelo Concílio Vaticano II não foram alheios a esta situação, estando relacionados, em termos cronológicos, tácticos e ideológicos, com o fenómeno da oposição católica portuguesa. De facto, os católicos portugueses não poderiam ficar indiferentes às reflexões motivadas por documentos como a Constituição Pastoral Gaudium et Spes ou mesmo pela anterior Carta Encíclica Pacem in Terris , que em muito se adequavam à situação nacional. As orientações contraditórias da Igreja e do Estado português obrigaram, assim, alguns católicos a marcar a sua posição, impedindo-os de “ servir a dois senhores ”. Palavras-chav e: Portugal; Vaticano II; Estado Novo; Oposição católica.The relationship between the Catholic Church and the Estado Novo was a very close one. Nevertheless, in the sixties, a sector of the Catholic Church began parting from the government’s prime directives, in particular the ones concerning the colonial policy, becoming protagonist of actions against the war and the regime’s dictatorial character. The winds of change provoked by Vatican II that, at the time, ran through the Holy See were not indifferent to the whole situation, being related to the Portuguese Catholic opposition chronologically, tactically and ideologically speaking. In fact, the Portuguese Catholics could not stay indifferent to the reflections motivated by documents as the Pastoral Constitution Gaudium et Spes or the previous encyclical Pacem in Terris , that were perfectly adapted to the national situation. The Church’s and the Portuguese colonial policy’s opposing guidelines made some Catholics to make a stand, preventing them of “serving two masters”. Key words: Portugal; Vatican II; Estado Novo; Catholic opposition. (shrink)

Perfumes embody a chemical record of style and technology. Blurring the boundary between what counts as natural and artificial in both a material and a perceptual sense, perfumery presents us with a domain of multiple disciplinary identities relevant to social studies: art, craft, and techno‐science. Despite its profound impact as a cultural practice, perfume has seldom featured in historical scholarship. The reason for this neglect is its inherently qualitative dimension: perfume cannot be understood via codified representation but requires direct (...) acquaintance with its sensory and material basis. The historical study of perfumery thus necessitates an experimental approach that comes not without challenge. This article looks at contemporary recreations of old perfumes to identify the difficulties involved in the experimental recreation of fragrances as sensory and performative artifacts. We highlight the need for a reconceptualization of methodology for inconcrete objects of study as part of the broader interest in experimental approaches to the humanities. (shrink)

This paper analyses the role played by members of the Curie family in the visual diplomacy of cancer treatments. This relationship started in 1921, when Marie Curie travelled to the US, accompanied by her two daughters, Ève and Irène, to receive a gram of radium at the White House from President Warren Harding. In the years that followed, Ève Curie, as the biographer and natural heir of radium discoverers Marie and Pierre Curie, continued to contribute to the visual diplomacy of (...) cancer campaigning. Two events will be analysed through an interdisciplinary lens, merging history of science and visual-diplomacy studies, to show how the legacy of the Curies played out in the international consolidation of pre-war transnational alliances in the fight against cancer. One involves the picture of the chargé d'affaires of the France Republic, Jules Henry, receiving the biography authored by Ève,Madame Curie, at the French embassy in Washington. The other concerns the photograph of Ève visiting the Portuguese Oncology Institute (IPO) in 1940, which was immediately reproduced in the Institute's bulletin in order to raise awareness of cancer prevention strategies, and also captured in film as a propaganda tool for the Estado Novo regime (1933–74). (shrink)

Adolescent-to-Parent Violence or Child-to-Parent Violence is a specific form of violence that has remained inconspicuous until recently, but is becoming a mounting social issue and is increasingly the focus of scientific research. Of the variables related to APV, the study assessed the characteristics of the family system and its relationship to the psychosocial adjustment of adolescents, an aspect scarcely examined in the literature. Thus, a field study was performed on a community sample of 210 adolescents aged 12–17 years who were (...) assessed on measurements of APV, parenting, victimization, and psychological adjustment. The results revealed higher rates of psychological APV, and no gender effects in violence exercised against either parent. The adolescents involved in APV exhibited a greater psychological maladjustment in the different areas under analysis. Moreover, adolescents engaging in psychological APV reported a parental socialization style characterized by severe strictness and supervision in comparison to non-aggressors not implicated in psychological APV. Finally, adolescents exercising APV who were victimized by their parents showed more psychological, personal, and school maladjustment. These results have implications for needs analysis and the planning of community prevention strategies. (shrink)

Cultures from around the world have long turned to the dome of the heavens to better understand the cosmos. This perceived curvature has manifested architecturally throughout the world, and domes have been used to enclose the most sacred environments of many cultures. In the 20th century, it became possible for the first time to radially extend mental images onto the dome screen using projections of light. The ability to completely immerse the visual field of audiences in a mediated environment, made (...) possible by advancements in engineering, mechanics, and electronics, was seized upon by numerous pioneers across a wide range of contexts. Like their historic predecessors, these modern multi-sensory sanctuaries continued to reflect the cosmologies and motivations of their creators, subtly affecting the evolutionary trajectory of the cultures from which they emerged. This paper is an attempt to shed light on the largely forgotten history, context, and motivations behind these early dome theaters. (shrink)

Two Socratic dialogues often considered “comic”—Ion and Hippias Major—have also been contested as to their Platonic authenticity. Plato’s dialogues; while certainly engaging, can also seem grim in their philosophical intensity: At least one author has contended that the dialogue more firmly established as genuinely by Plato, Symposium; has some comic elements: This article goes a step further in suggesting that this dialogue does not merely have comic elements but is in fact a comedy. It draws on several texts in (...) the literature on Greek comedy over the past century and suggests that; although the dialogue sets itself serious philosophical challenges, its structure; style; and method are deeply steeped in comedic modes from around Plato’s day. This is not to presume whether Plato was deliberately writing a comedy. In general, writers are often strongly influenced by literary fashions of the day, so it would not be far stretching the matter to understand the work as comedic. Thereby, the article offers, via textual analysis, an argument for how the dialogue is a comedy along withcounter-arguments against such a notion. In the end, indeed, acknowledging it is a comedy promises to open up new angles on interpreting that dialogue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Style and the Mole: Domestic Aesthetics in The Wind in the WillowsSeth Lerer (bio)Writing to her husband’s first illustrator, Graham Robertson, in 1931, Elspeth Grahame thanked him for the gift of his recently published memoirs. She called them “entrancing” and goes on to note: “The touch is so light yet so sure that whatever the subject the reading of it would be full of pleasure to any lover (...) of English style.”1 Lovers of English style would have been long familiar with Kenneth Grahame’s Wind in the Willows, originally published in 1908 and, by 1931, available in four different editions (a new one, illustrated by Ernest Shepard would soon appear in that year).2 A. A. Milne’s stage adaptation, Toad of Toad Hall, played to welcoming audiences in 1929, and Sir Arthur Quiller-Couch, perhaps that era’s greatest arbiter of English style, had ensconced Grahame with two selections in his Oxford Book of English Prose, published in 1925.3While The Wind in the Willows is about many things—the nature of friendship, the loss of English pastoral security, the temptations of fashion and fad—it is, first and foremost, an essay in aesthetics. Style governs each and every creature of its woods and mansions, from Mole’s quiet, gentlemanly domesticity to Toad’s manic, aristocratic shows. Style governs, too, the progress of its narrative, and throughout this book, Grahame explores techniques of pictorial description and devices of characterization that would come to epitomize what Elspeth could evoke as “English style.”4Though voiced decades after her husband’s major work had been completed, Elspeth’s judgment chimes with the ideals of the Edwardian aesthetic codified in Quiller-Couch’s anthology.5 Central to that aesthetic was a kind of effortless esprit, as well as an essential “Englishness” that rooted that esprit in local landscape and personal reminiscence. There remains something sweetly nostalgic about the Edwardian idiom, and Quiller-Couch makes clear that, even though his book may brim with “purple patches,” there is nonetheless a “subdued and hallowed emotion” to its selections: “a sense of wonderful history written silently in books and buildings, all [End Page 51] persuading that we are heirs of more spiritual wealth than, may be, we have surmised or hitherto begun to divine.”6 Some of those selections, he claims, hold “the core of true English gentility.” Others are, he reflects, full of “out-of-door matter.”7 He goes on to note that, when Wolfe crossed the St. Lawrence, he is reputed to have “murmured a stanza or two from Gray’s Elegy,” and Quiller-Couch himself has drawn on writers who, he claims, evoked “this imperishable land of ours revived.”8 Such sentiments could not have been far from the mind of Elspeth Grahame, who invites Graham Robertson to their home in the country in her letter of thanks:Do you ever go caring—or if by train we are within an hour of Paddington, and 5 minutes walk from the station here—in an old cottage next the church with a round village lock-up in the garden—so if you would ever propose yourself to come down & see us we should be so glad—and used as you are in Surrey to beauty-spots the river & trees are beautiful in summer-time, that is of course when there is any summer about which has not been the case this year.9The Grahames lived by what Quiller-Couch calls that “green and English country churchyard,” and in his anthology he calls attention to a selection from Charles Reade, “The English Skylark in Australia.” There, in an amazing, paragraph-long sentence, Reade epitomizes the ideals of local pastoralism, and his style—though readers today may find it overwrought—would provide a model for the criticism of Elspeth as well as the writing of her husband:Every time he checked his song to think of its theme, the green meadows, the quiet stealing streams, the clover he first soared from and the Spring he sang so well, a loud sigh from many a rough bosom, many a wild and wicked heart, told how tight the listeners had... (shrink)

Recently, an increasing number of scholars have been showing interest in old-fashioned racism again. While recent studies on old-fashioned racism apparently increase our knowledge of this psychological theory of racism, the studies actually shed light on a different type of racism, namely offensive racism. The aim of this text is to argue that psychological theories of racism, like old-fashioned racism and modern racism, depend on societies’ social norms. I will show that questionnaires are highly sensitive to social (...) norms, and if there is change in social norms, the original measurement object alters. The theory of old-fashioned racism implicitly assumes agents that follow (or conform to) the social norm to behave prejudiced. Today, however, this social norm does not exist in Western societies. If agents express the same prejudices today, they indicate their willingness to breach the social norm to behave unprejudiced. Thereby, classic old-fashioned racism measures reflect a new kind of racism today. (shrink)

Revered as the ‘Queen of Qawwali’ and ‘Queen of Sufi music’, sixty-seven-year-old Abida Parveen is a spiritual phenomenon who transcends gender while performing. She is known for her signature fashion style of buttoned-up masculine-cut kurta with matching shalwar and an ajrak shawl. Her aesthetic circulates within transnational and national fashion media and popular cultural spaces through descriptors such as androgynous, masculine, modest, indigenous and sacred. As a highly respected figure with widely circulating performances on both the national and international (...) stages, as well through multiple media circuits, including television, social/digital media and broadcast concerts, Parveen's undeniable fame and her transgressive entry into an otherwise male-dominated music genre raises important questions about gender, embodiment, spirituality and the sacred. In analysing Parveen's body and dress in performance, I centre her sartorial style as sites of spirituality and affect to ask: what does it mean for Parveen to transcend gender through a performance of androgynous Sufism and mobilise it as an entry way into spiritual iconism? What imaginations around spirituality and the sacred become available through Parveen's sartorial practices? How does Parveen's style offer an alternative route to Muslim spirituality? Taking up Parveen's embodied coagulation between fashion and the sacred reveals an absence in feminist fashion studies on which subjects and styles are viewed as important, relevant, resistant or transgressive and thus worthy of theorisation. As a feminist scholar interested in the relationship between gender, power and self/representation, I see Parveen as a key global cultural and spiritual figure who necessitates transnational feminist analysis. This article is situated at the intersections of fashion and cultural studies, feminist, queer and trans spiritualities and South Asia studies. (shrink)

The main aim of this paper is to examine how the recent themata developments in Social Representations Theory can be linked with the classical process involved in the construction of social representations—anchoring—, as well as with the communicative modalities that are part of the theory since its inception. This was done through a study of the representation of GMOs in the Portuguese press, taken as an opportunity for addressing the issues related to the role played by old categories in (...) rendering new meanings and in establishing new categories.A further objective of the study, more applied in nature, was to explore whether the central characteristics of the representations of biotechnology in European countries were also present in Portugal.All articles that included the expressions Genetically Modified/Genetic Modification/Manipulation or Transgenics, were collected, in five Portuguese newspapers, during the years of 1999, 2000 and 2001. Content analysis of the 239 articles collected showed that their thematical organisation re-constitutes the Red/Green dichotomy found in most European countries. The Red/health discussion is structured around such themata as health/disease, risk/safety, benefits/problems, and anchors in categories like science and progress. The nature/culture opposition emerges, in turn, in the Green/food discussion, which anchors on categories like ideology and employs Propaganda as a communicative modality—a set of indicators configuring a more polemic debate. The conclusions discuss the relevance of linking themata with anchoring and the importance of devising more fine-grained tools for the analysis of Diffusion. (shrink)

Book reviewed in this article:M DePaul (ed), Resurrecting Old–Fashioned Foundationalism.

The New Comedy as an art form is descended both from the Old Comedy and from fifth-century Tragedy. It is a middle style of the sort that Diderot called le genre sérieux. On the one side it made an expurgation of the Old Comedy by dropping the gross elements of the primitive ritual έσεωςκμος which still survived in Aristophanes, the phallic dress, the ευρομός in language, and the reckless personal satire, while it kept and emphasized the (...) final Gamos, or union of lovers, and developed a more elaborate plot. On the other side it reformed Tragedy by getting rid of the supernatural stories and the stiff conventions. To quote some words of my own written in 1912, it ‘introduced all the simplifications and improvements which seem to a modern’—I meant a modern philistine—‘so obviously desirable. It developed an easy colloquial language, a flexible and unexacting metre. It left the Chorus quite outside the play, a kind of entr'acte, not worth writing down. It frankly abandoned religious ritual’—please observe that statement, which I now wish to correct—‘and heroic saga. It drew its material from the adventures and emotions of contemporary middle class life, and boldly invented its own plots.’ Menander in particular was considered in antiquity to have held a mirror up to life; a verse by Aristophanes of Byzantium asks. (shrink)

Ernst Lubitsch, the great author of Hollywood comedy and pioneer of such genres as the sophisticated romantic comedy, the musical, and the screwball comedy, is a relatively overlooked figure in mainstream film theory. In this collection, renowned world thinkers and philosophers position Lubitsch as the premium director of subversive cinema, reflecting on his attitude toward love and politics which correspond to contemporary issues.Followers of the Hegelian, Marxist, Freudian, Lacanian, and Deleuzian traditions discuss thephilosophical, political, and ethical dimensions (...) of Lubitsch's late Hollywood work. They focus on love as stealing, the ethics of style, and comedy in times of austerity in the director's masterpiece, _Trouble in Paradise_ (1932); answer the question of why comedy is always polygamous; discuss links between masochism, melancholia, and ideology in _Ninotchka_(1939); celebrate the ethical gesture of comedy in _To Be or Not to Be_ (1942); and promote the revolutionary comic spirit of Lubitsch's last directorial effort, _Cluny Brown_ (1946). These essays' witty, subversive, and provocative approaches highlight Lubitsch's unique understanding of love, sex, comedy, and politics and idiosyncratic conception of totalitarian"nightmares" and capitalistic "paradise," countering the non-dialectic and politically correct discourse of mainstream and independent cinema today. (shrink)

The contributions in this volume make an important effort to resurrect a rather old fashioned form of foundationalism. They defend the position that there are some beliefs that are justified, and are not themselves justified by any further beliefs. This epistemic foundationalism has been the subject of rigorous attack by a wide range of theorists in recent years, leading to the impression that foundationalism is a thing of the past. DePaul argues that it is precisely the volume and virulence (...) of the assaults which points directly to the strength and coherence of the position. (shrink)

The contributions in this volume make an important effort to resurrect a rather old fashioned form of foundationalism. They defend the position that there are some beliefs that are justified, and are not themselves justified by any further beliefs. This epistemic foundationalism has been the subject of rigorous attack by a wide range of theorists in recent years, leading to the impression that foundationalism is a thing of the past. DePaul argues that it is precisely the volume and virulence (...) of the assaults which points directly to the strength and coherence of the position. (shrink)

Models of global governance abound: expert governance, networked governance, algorithmic governance, and old-fashioned juridico-political governance vie for explanatory power. This article takes up style as a way of analysing configurations of governance that do not readily fit a particular model of governance. Style is particularly revealing when it comes to deliberately unspecified or over-specified, genre-busting, and bet-hedging ways of imagining governance. The UN’s use of the phrase ‘convening power’ is a case in point. This article looks at (...) how the UN has styled itself as a convening power in the area of counter-terrorism governance. A visual analysis of promotional materials for the UN’s Counter-Terrorism Week suggests that the UN’s self-styling as a convening power is shaped by anxieties as well as aspirations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kendall L. Walton FICTION, FICTION-MAKING, AND STYLES OF FICTIONALITY Both objectsandactions are said to have styles. Styles eire attributed to works of art, bathing suits, neckties, and automobiles. But we also think of styles as ways of doing things. There are styles of teaching, styles of chess playing, styles of travel. The primary notion of style is the one which attaches to actions. When we speak of die (...) style of a poem or a portrait or em automobile we do so with reference to an action or actions associated with the object, usually the action or actions which appear to have been performed in die making of it. I will not argue now for this claim about style except to note that style attributions eure peculietrly alien to objects which are not products of human action. What is the style of a tulip, or an alpine meadow, or a pristine lake in the high Sierras? Are the Grand Canyon and Yosemite Valley in the same style or different ones? Sunsets in the tropics are very different from sunsets in the arctic, but is die difference a stylistic one? We might allow that in unusual cases natured objects can have styles. A chorus ofchirping birds might, just conceivably, chirp in the style of Haydn. But die notion of style here is obviously parasitic on diat which is applied to man-made eirtifacts. To think of an object as having a style is to mink of it as a product of human action.1 If actions are the primary possessors of style, to understand styles of fictionality we must look at die action of fiction-meddng emd its relation to works of fiction. I will concentrate on the very basic question ofwhat fiction is, what it is for something to be a work of fiction, and on attempts to answer this question in terms of die action offiction-making. It has been especially fashionable to utilize die notion ofspeech acts introduced by John Austin in tackling this problem. The fictional status of a work is, supposedly, to be accounted for by what illocutionary actions were or were not performed by the artist producing it, or by connections between what the artist did and certain illocutionary actions. My assessment of mis program will be mostly negative. Speech-act theory is remarkably unhelpful in explaining what fiction is. We have here something ofa "Have dieory, will travel" syndrome. There is a tendency for theorists, when 78 Kendall L. Walton79 faced with a new problem, to dust off an old theory which they know emd love, one devised with other questions in mind, shove it into die breach, and pray mat it will fit. In this case it does not fit, and the result is confusion radier dian illumination. Lest I step on toes other man the ones I am aiming at, let me empheisize that my present concern is not with the viability of speech-act theory as a dieory of language. Nor do I mean to deny that speech-act theory can be used fruitfully to illuminate important features of literary fictions. I am now addressing only die basic question of what fiction is, how works of fiction are to be differentiated from odier things. Whatever the other merits of speech-act theory, its applications to this question have been distinctly infelicitous. From our discussion of such applications em even stronger conclusion will emerge, the conclusion that the nature of fiction is not to be explicated in terms of acts of fiction-making at all. The notion of fiction is in diis respect contrary to that of style, and certain consequences about styles of fictionality follow. I Speech-act theory has been brought to bear on the problem of the nature of fiction in a number of rather different ways. I will look at four of them. The first is the idea that works of fiction are simply texts (or other representations ) which are not vehicles of illocutionary acts. It is true mat in writing fiction an author typically does not perform the illocutionary acts that a person who uses the setme words in a nonfictional setting is likely to be performing... (shrink)

The number of speaking actors in Old Comedy has been much discussed, but no consensus has been reached. The old assumption that the number was three, as in tragedy, was shaken when it was realized that some scenes of Aristophanes have four characters on-stage at once, all taking part in the dialogue: for example, in Lys. 77–253 we have Lysistrate, Kalonike, Myrrhine, and Lampito, and in Frogs 1414–81 we have Dionysos, Aiskhylos, Euripides, and Plouton. Rees therefore argued that there (...) was no fixed number, but that view was not generally accepted. A more widely held view is that there were three principal actors with additional performers for small parts. However, there is no evidence contemporary with Aristophanes which distinguishes three actors from the others in this way, and it is probable that writers of later periods who mention three actors are referring to their own times and did not have authentic information about the fifth century. The passage which DFA, p. 149, seems to regard as the most trustworthy is in a brief account of comedy attributed to Tzetzes: πιγενμενος δ Κρατνος κατστησε μν πρτον τ ν τ κωμδ πρσωπα μεχρ τριν, στσας τν ταξαν4 DFA paraphrases this as ‘Cratinus reduced the disorderliness and, in some sense, fixed the number of regular actors at three’. But πρσωπα means ‘masks’ or ‘characters’; it does not mean ‘actors’ . What the writer meant by saying that Kratinos settled the masks or characters in comedy at ‘up to three’ is not clear, but his statement is useless as evidence for the number of actors. (shrink)

The Yablo Paradox’ main interest lies on its prima facie non-circular character, which many have doubted, specially when formulated in an extension of the language of firstorder arithmetic. Particularly, Priest (1997) and Cook (2006, forthcoming) provided contentious arguments in favor of circularity. My aims in this note are (i) to show that the notion of circularity involved in the debate so far is defective, (ii) to provide a new sound and useful partial notion of circularity and (iii) to show there (...) is a non-circular formulation of the list in an extension of the language of first-order arithmetic according to the new notion. El interés principal de la Paradoja de Yablo yace en su carácter prima facie no circular, el cual ha sido puesto en duda especialmente con respecto a la formulación de la paradoja en una extensión del lenguaje de la aritmética de primer orden. Particularmente, Priest (1997) y Cook (2006, en prensa) formularon argumentos contenciosos a favor de la circularidad. los objetivos de esta nota son (i) señalar que la noción de circularidad utilizada hasta el momento en el debate es defectuosa, (ii) ofrecer una nueva noción parcial adecuada y útil de circularidad y (iii) mostrar que existe una formulación no circular de la lista en una extensión del lenguaje de la aritmética de primer orden de acuerdo con la nueva noción. (shrink)

Handling Digital Brains proves that ethnography of the laboratory is still capable of making a significant contribution in the field of social studies on science and technology. The reviewed work presents details of interactions between researchers, as well as between researchers and their material equipment, which are key to explaining the methods of solving research problems when analyzing brain scans generated during fMRI experiments. Significantly, the reconstructed multimodal embodied practices shed light not only on the process of scientific cognition, but (...) also on a broader spectrum of human cognitive activities. The book constitutes a challenge of a kind to neurocognitive sciences. As the author shows, cognitive neuroscientists utilizing fMRI declare that they study the embodied mind; yet, in practice, they reduce the body to the brain, and cognition – to purely internal processes. Such a model of cognition, (tacitly) assumed by experimental neurocognitive scientists, turns out to be insufficient when used reflexively in order to explain the way neuroscientists themselves solve problems. (shrink)

Despite the modern trappings the values of the Sons of SAMCRO and their old ladies are even more traditional than those of mainstream society. The parallels between the culture depicted in Sons of Anarchy and the one depicted by Homer's epics make the show philosophically interesting, because moral philosophy in Greece began as a reaction against Homeric values. Just as the Sons bear the Reaper on their cuts, Homeric warriors often decorated their armor with violent images to make clear their (...) status as killers. Those who have drawn blood for the club wear the “Men of Mayhem” patch. There are many ways in which the Homeric heroes outstrip the brutality of SAMCRO. The parallels between SAMCRO's and Homer's conceptions of a good life show us both what is commendable and condemnable about life in the MC. (shrink)

A empatia entre a Imagem e o Poder nunca escapou à especial atenção dos autocratas. Salazar não foi excepção. Nos manuais do ensino primário, o Estado Novo estaria presente com grande simplicidade formal mas nem por isso inocente: a família, o império colonial, a sã convivência das classes sociais e das raças, as grandes obras públicas, o culto do Passado, o Cristianismo, a cultura popular ou ainda a propaganda das organizações do regime, como a Mocidade Por­tuguesa. Em todas as (...) ilustrações, uma forte e única preocupação: enfatizar uma perspectiva moralista e fazer passar e impor a imagem de um país feliz, equilibrado, patriótico, orgulhoso da sua História, imperial, saudável e em paz. (shrink)

The law is a not an abstract system or scheme of rules, as we often speak of it, but an inherently unstable structure of thought and expression. It is built upon a distinct set of dynamic and dialogic tensions, which include: tensions between ordinary language and legal language; between legal language and the specialized discourses of other fields; between language itself and the mute world that lies beneath it; between opposing lawyers; between conflicting but justifiable ways of giving meaning to (...) the rules and principles of law; between substantive and procedural lines of thought; between law and justice; between the past, the present, and the future. Each of these tensions is present whenever a lawyer or judge goes to work. None of them can be resolved by resort to a rule or other directive, but must be addressed anew by the lawyer and judge in each case as it arises, by the exercise of an art of language and mind that is defined by the nature of these tensions themselves. (shrink)

The Birds of Aristophanes is unique among his extant plays in that it employs a chorus in which each member has an individual identity, that is, in which each chorus-member represents a different kind of bird. The consequent variety of costume must have been a great visual embellishment to the play, and one is led to wonder how commonly the device employed in Birds featured in Old Comedy in general. Two parallels are frequently cited in the choruses of Eupolis' (...) and Ameipsias' , both of which will be considered below, but, although those plays do indeed provide our best evidence outside Birds, I wish to argue here that we may reasonably suspect that some other old comedies known to us had choruses of the type in question, which I designate ‘individualized’ or ‘multiform’ choruses. (shrink)

But there's no good in our merely feeling sorry for ourselves. Instead, we might do well to read and seriously reflect upon the example set by Professor C. A. Campbell's On Selfhood and Godhood. For imagine anyone in the present dispensation of insular philosophy in Great Britain writing a book on selfhood and Godhood, of all things! This might have been all very well for the Gifford lectures of 50 years ago, and yet the present book comprises the Gifford lectures (...) of 1953-54 and '54-55. Nor is Professor Campbell himself unaware of being a seeming anachronism. For in his very preface, he flatly declares, "Readers of this book will not be long in discovering my inability to do obeisance to the twin gods of so much recent British philosophy--empiricism and linguisticism". And he then goes on blandly to acknowledge that for this reason he may very well be classed among those authors who are but "philosophic Rip Van Winkles talking in their sleep". For that matter he is not averse, every now and again, to interject a wry aside of the following type: "I propose to lead up to my own view, etc.". (shrink)

I argue that we cannot adequately characterize the aims of education in terms of some formal conception of what it is to think well. Implementing any such aim requires reliance on and communication of further, substantive normative commitments. This reveals that a standard contrast between an old-fashioned approach to education that aims to communicate a particular normative outlook, and a progressive approach that aims to develop skills of critical reasoning and reflection is confused and misleading.

I develop a concept of observability that pertains to qualities rather than objects: a quality is observable if it can be registered by human sensation (possibly with the aid of instruments) without involving optional interpretations. This concept supports a better description of observations in science and everyday life than the object-based observability concepts presupposing causal information-transfer from the object to the observer. It also allows a rehabilitation of the traditional empiricist distinction between observations and their interpretations, but without a presumption (...) that observations are infallible. Using this concept of observability, I also propose a re-formulation of constructive empiricism that is easier to defend against realist attacks, while open to reasonable realist intuitions. (shrink)

The article reconstructs the main lines of three hypotheses in the current literature concerning the evolutionary pace which characterized the natural history of human language: the “continuist” and gradualist perspective, the “discontinuist” and evolution-free perspective, and the “punctuationist” view. This current debate appears to have a long history, which starts at least from Darwin’s time. The article highlights the similarities between the old and the modern debates in terms of history of ideas, and it shows the current limits of each (...) of these perspectives. In the final part, we present an alternative approach which considers human language not as a single trait, but as the result of a mosaic of different elements, some of which recently evolved, and some others gradually evolved and phylogenetically ancient. When matched with a tree thinking and comparative perspective, this view suggests that expressions of symbolic and linguistic behaviors in other human species could have preceded the more complex and systematic behaviors showed by Homo sapiens. (shrink)

This chapter contains sections titled: Cognition as Information Processing, as Computation, and as Abiding in the Meaningful Operationalism Is This Merely a Terminological Issue? Conclusion.

The number of elderly influencers on Instagram is increasing. When analyzing a sample of corresponding posts, it is noticeable that fashion, especially fancy or vintage fashion, plays a central role. By choosing extraordinary looks, elderly influencers, whose age is by no means concealed, communicate self-determination and independence from the opinions of others – both also in connection with life experience. Their followers consider them as cool and empowering: this way, they can positively influence society’s perception of elderly people, take away (...) younger recipients’ fear of aging, and act as role models. However, a noticeable divide emerges, as the elderly influencers are apparently well-educated and presumably also wealthy and enjoy good health. In social comparison, many of those of the same age would probably perform poorly. Therefore, it can be concluded that elderly influencer may be beneficial to their recipients and to society as a whole, but that addressing the social conditions that enable old people to live a fulfilled life is largely ignored. (shrink)

We attribute psychological states and intentional actions to others. We also predict such states and actions and explain them. I attribute to Fred the belief that that mountain in the distance is the Schneeberg as well as the thought that it would be pleasant to climb it. I predict that later in the week when there is some free time Fred will form the intention to climb the mountain that very afternoon. And when one morning later in the week Fred (...) says, "Let"s drive to Puchberg [at the foot of the Schneeberg] this afternoon,� I have no problem explaining what is up: Fred has Schneeberg plans. Further, we often do this spontaneously, effortlessly, and, in the majority of cases, successfully. (shrink)

The drawbacks of using the concepts of models in discussing the problems of disabled people are discussed. It is suggested that the terms “impairment”, “disability”, and “handicap” can unify the different models and enhance the position of people with disabilities in society.

In the early modern period, botany still remained a relatively new arrival at the top table of knowledge. Much botanical work was not done in universities, colleges, academies, laboratories, or botanic gardens, but behind the walls of different kinds of gardens – of the royalty as well as of common people, of monasteries as well as public gardens. By following the circula­tion of oranges, especially taking into consideration the role of Portugal as a turn­table, this paper sheds light on several (...) of the unexpected ways in which the history of botany and horticulture and the history of gardens encountered in the early modern world. The history of oranges has often made reference to the acclimatization of this citrus fruit in Europe and its transplantation to the New World. However, very few works have addressed the dissemination of oranges from the Iberian Peninsula. In this paper, I argue for a change in perspective by stressing the role played by the Portuguese on acclimatization and dissemination of oranges from Asia to Portugal, and from this country to the Old and New Worlds. I also stress the role Portugal played in building and popularizing horticultural expertise for orange growth and its corresponding botanical knowledge. (shrink)

A recurring complaint in the highly polemical chronicles of the medieval Veneto is that elite families misused marital alliances as instruments of political violence. This concern appears, in particular, in the Cronica in factis et circa facta Marchie Trivixane , by Rolandino da Padova , the most rhetorically coherent and thorough medieval history of the region. Rolandino's interest in abuses of the betrothal system is evident in his account of the serial marriages of Cunizza da Romano. Over fifty years before (...) Cunizza's posthumous celebration in Dante's Divine Comedy, Rolandino's discussion of her amours forms part of a long denunciation of her brother, Ezzelino III da Romano . Cunizza's brother was an imperial vicar who, at the height of his power, controlled the entire mainland of the Veneto, called the Marca Trevigiana in the Middle Ages. The powerful Ezzelino is implied in the chronicle to have manipulated Cunizza's marital alliances, and the suggestion is that the resulting strategic connections enabled him to foment war and injustice. This tale is but one of many in which the chroniclers of the region condemn elite marital practices deemed transgressive in terms of political oppression. The main purpose of this article is to chart the chroniclers' accusations that link misconduct in marriage agreements to violence in factional politics and abuse of power. I contend that the chronicles of the medieval Veneto represent tyranny in terms of the manipulation of marital alliances. (shrink)

In recent years, at least in the so-called western societies, a clear trend has been established to consume products that aim to promote a state of nostalgia in the consumer: fashion, cinema, television... everything that concerns mass consumption, in its aesthetics, it dresses with elements that try to evoke part of its target's past, and it works. In this article we will analyse, understanding consumption only as the most obvious expression, what motivates us to seek stimuli that evoke the past, (...) what pushes us to it and how much does the state of anguish to which the type of circumstance draws us have to do with it that we live. We will try to demonstrate how nostalgia, beyond topics, is offered as the most accessible and effective refuge to temporarily mask that anguish caused by a medium perceived as inhospitable and fragmented, and without the need to renounce itself. (shrink)

Philosophical intuition has become one of the most debated problems in recent years, largely due to the rise of the movement called experimental philosophy which challenged the conviction that philosophers have some special insight into abstract ideas such as being, knowledge, good and evil, intentional action, etc. In response to the challenge, some authors claim that there is a special cognitive faculty called philosophical intuition which delivers justification to philosophical theses, while some others deny it based on experimental results. A (...) relatively smaller group of researchers aim at clarifying what the alleged intuition is. I follow the latter path. In this paper I argue that philosophical intuition is in the first place the capacity enabling one to what I refer to as the recognition of one’s epistemic position. The latter means becoming aware of the seemingly trivial “fact” that the way in which the world manifests itself depends on the cognitive apparatus one has, thereby propelling one to draw a distinction between appearances and reality. The recognition at stake is a very specific capacity to approach the world solely as it is experienced. This capacity, I argue, is the core and the defining feature of philosophical intuition. As part of my argumentation I also distinguish between the intuition in question and its different manifestations; and then introduce a novel notion of erotetic intuition. My argument is called “old-fashion” to emphasize the fact that I draw mostly on four figures who were pivotal in the twentieth- century philosophy and whose influence on the current debate concerning philosophical intuition should be, I believe, stronger than it is; I mean Russell, Carnap, Wittgenstein, and Husserl. (shrink)